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' 


MUSICAL  GRAMMAR, 

En  JFour   33arts. 

I.  NOTATION,       III.  HARMONY, 
II.  MELODY,  IV.    RHYTHM, 


By  DR.  CALLCOTT, 

ORGANIST  OF  COVEXT  GARDEN  CHURCH. 


The  better  Music  is  known  and  understood,  the  more  it  will  be 
valued  and  esteemed." Simpson. 


FOURTH    EDITION. 


33©SC©X  : 

JAMES  LORING.  WASHINGTON  STREET. 


IS  38 


cStanfeartt  jpum'cai  Works 

PUBLISHED    BY 
JAMES  LORING,  132  WASHINGTON  STREET,  BOSTON. 


A  TREATISE  ON  HARMONY,  written  and  composed 
for  the  use  of  the  Pupils  at  the  Royal  Conservatoire  of 
Music  in  Paris;  by  Catel,  Professor  of  Harmony  in 
that  'Establishment.  From  the  English  Copy,  with 
Additional  Notes  and  Explanations,  by  L.  Mason. 

FIRST  STEPS  TO  THOROUGH  BASE,  in  twelve 
familiar  lessons  between  a  teacher  and  pupil.  By  a 
Teacher  of  Music.     Revised  from  the  London  Edition. 

THOROUGH-BASE  PRIMER:  containing  Explana- 
tions and  Examples  of  the  Rudiments  of  Harmony  j 
with  Fifty  Exercises.  By  J.  F.  Burkowes.  Second 
American,  Improved  from  the  London  Edition. 

THE  MUSICAL  CYCLOPEDIA:  or  the  Principles  of 
Music  considered  as  a  Science  and  an  Art;  embracing 
a  complete  Musical  Dictionary,  and  the  Outlines  of  a 
Musical  Grammar,  and  of  the  Theory  of  Sounds  and 
Laws  of  Harmony  ;  with  Directions  for  the  Practice  of 
Vocal  and  Instrumental  Music,  and  a  Description  of 
Musical  Instruments.  By  William  S.  Porter.  Re- 
commended by  Professors  Mason  and  Webb. 

AN  EASY  GUIDE  TO  VOCAL  MUSIC,  chiefly  with 
a  view  to  Psalmody.  With  an  Historical  Introduction, 
and  Questions  on  the  Lessons.  To  which  is  added, 
a  Dictionary  of  Musical  Terms.  By  John  Turneb, 
Esq.     From  the  last  London  Edition. 


THE 

AUTHOR'S    PREFACE. 


The  design  of  the  following  Work  is,  to  compress  in  a 
small  volume,  the  leading  principles  of  Practical  Music. 
From  the  analogy  which  exists  between  Music  and  Lan- 
guage, the  Author  has  presumed  to  adopt  a  classification 
first  suggested  by  the  German  Theorists,  and  to  entitle 
the  whole  a  Musical  Grammar. 

He  has  endeavored,  by  Examples  selected  from  the  best 
authors,  and  intermixed  with  Musical  Characters,  to  ren- 
der the  instructions  more  satisfactory  than  if  they  were 
merely  verbal ;  and  he  only  regrets  that,  in  many  instan- 
ces, they  could  not  be  made  more  extensive,  without  in- 
juring the  due  proportion  of  the  parts  and  the  portable 
size  of  the  book. 

He  is  very  happy  to  avail  himself  of  the  present  oppor- 
tunity of  returning  his  most  grateful  acknowledgment  for 
the  assistance  he  has  obtained  from  public  and  private 
libraries  in  England,  and  for  the  great  attention  shown 
him  by  persons  not  more  distinguished  by  rank  and  birth, 
than  by  love  of  science  and  of  literary  pursuits. 

The  present  small  volume  is  submitted  by  the  author  to 
the  world  with  a  considerable  degree  of  diffidence;  and 
he  hopes  that  the  various  professional  occupations  in  which 
he  has  been  incessantly  engaged,  will  be  an  excuse  for 
any  small  inaccuracies  which  may  strike  those  who  are 
conversant  with  the  subject. 

1026557    7 


PREFACE 


TO    THE 

SECOND    BOSTON     EDITION. 


In  the  cultivation  of  Music,  two  distinct  objects  are  to  be  ac- 
quired ;  Science  and  Taste.  Taste  is  improved  by  studying  the 
compositions  of  celebrated  Masters,  and  by  endeavoring,  both  in 
writing  and  performing,  to  adapt  the  Melody  to  the  subject. 

By  a  due  attention  to  this  little  volume,  it  is  confidently  believed, 
that  the  student  may  obtain  all  that  is  necessary  to  discriminate  be- 
tween false  and  correct  harmony,  and  to  compose  conformably  to  the 
established  rules  ;  an  acquisition  which  certainly  must  be  desirable 
to  the  votaries  of  Music  ;  and  what,  to  every  Christian,  must  be  an 
object  of  consequence,  it  will  tend  to  introduce  dignity  and  purity 
into  those  native  compositions,  which  are  designed  for  the  use  of 
worshipping  assemblies. 

About  twenty  years  since,  several  publications  made  their  appear- 
ance in  the  United  States,  which  had  a  tendency  to  correct  and  re- 
fine the  public  taste  in  the  noble  Science  of  Music.  No  publication, 
perhaps,  has  had  a  more  universal  influence  in  this  reform,  than  this 
Musical  Grammar.  The  general  character  which  it  has  sustained  for 
correctness  among  the  best  judges,  and  the  high  estimation  in  which 
it  continues  to  be  held,  has  induced  the  Publisher  to  present  a  second 
Boston  edition.  He  has  been  careful  to  preserve  its  original  accuracy, 
by  obtaining  a  careful  revision  and  examination  of  the  work  by  a 
gentleman  of  this  city,  eminent  for  judgment  and  taste  in  this  Science. 

Boston,  March,  1830. 


P-; 


CONTENTS. 


THE   NOTATION    OF   MUSIC. 

Chap.  I.      Of  the  Staff, 9 

Chap.   II.      Of  the  Clef. 

Sect.    I.     Of  Clefs  in  general U 

2.  Of  the  G.  or~ Treble  Clef, 13 

3.  Of  the  F,  or  Base  Clef, 13 

4.  Of  the  Counter  Tenor  Clef, 15 

5      Of  the  Tenor  Clef, 16 

6.  Of  the  Soprano  Clef,          17 

7.  Of  the   Mezzo  Soprano,  the  Baritono,  and 

high  Treble  Clefs, 17 

Chap.  III.     Of  the  Notes. 

Sect.  1.     Of  Notes  in  oreneral, 18 

2.  Of  the  Tune  of  Notes, 22 

3.  Of  the  Time  of  Notes 25 

4.  Of  the  Accent  of  Notes. 36 

Chap.   IV.      Of  the  Rests 40 

Chap.   V.      Of  the  Sharps,  Flats,  fyc. 

Sect    1.     Of  the  Sharps 42 

2.  Of  the  Flats.   .' 43 

3.  Of  the  Naturals.       ...           46 

4.  Of  the  double  Sharp, 47 

5.  Of  the  double  Flat, 47 

Chap.   VI.      Of  Graces.  Characters,  Marks  of 
Expression,  and  Abbreviations. 

Sect    1.     Of  Graces 49 

2      Of  the  Characters, 56 

3.  Of  the  Marks  of  Expression,      .  '  ....  60 

4.  Of  Abbreviations, 62 


VI 


MELODY. 
Chap.  I.     Of  Intervals. 

Page 

Sect.  J.     Of  Intervals  in  general, 04 

2.  Of  the  Names  of  Intervals, 66 

3.  Of  the  fourteen  Diatonic  Intervals,    ...  67 

4.  Inversion  of  Intervals, 73 

Chap.   II.      Of  Consonant  and  Dissonant  Intervals,    .  76 
Chap.  III.      Of  the  Genera. 

Sect.  1.     Of  the  three  kinds  of  Melody, 79 

2.  Of  the   Chromatic  Scale,   and  its  Intervals,  80 

3.  Of  the  Enharmonic  Scale,  and  its  Interval, 

the  Quarter-tone, 85 

Chap.  IV.     Of  Keys  or  Scales,  and  their  two  Modes, 
Major  and  Minor. 

Sect.  I.     Of  Keys  or  Scales,        88 

2.  Of  the  Major  Scales  with  Sharps,       ...  89 

3.  Of  the  Major  Scales  with  Flats,     ....  90 

4.  Of  the  Signature, 91 

5.  Of  the  Minor  Scale  or  Mode, 91 

6.  Of  the  relative  Minor  Scales, 93 

7.  Of  the  Tonic  Minor  Scales, 94 

8.  Of  Transposition,  &c 95 

Chap.  V.     Of  the  qualities  of  the  Notes  which  com- 
pose the  Scale. 

Sect.  1.     Of  the  Tonic,  Dominant,  &c 97 

2.     Of  the  characteristic  Notes, 99 

Chap.  VI.      Of  Ancient  Signatures. 

Sect.  1.     Of  ancient  Signatures  in  general,     .     .     .  101 

2.  Of  ancient  sharp  Signatures, 102 

3.  Of  ancient  flat  Signatures, 103 


CONTENTS.  Vll 


H  A  R  M  O  N  Y. 

Chap.  J.      Of  the  Triad. 

.  Pa«E 

Sect.  1.     Of  the  Consonant  and  Dissonant  Triads,   .  105 

2.  Inversions  of  the  Triad, 108 

3.  Of  the   Direct  and  contrary  Motions,  and 

the  rules  for  their  use  in  Harmony,     .  Ill 

4.  Of  Harmonical  Progression, 112 

Chap.  II.      Of  the  Dominant  Seventh,  its  Inversions, 

Resolution,  and  of  Modulation. 

Sect.  1.     Of  the  Dominant  Seventh, 116 

2.  Of  the  Inversions  of  the  Dominant  Seventh,  120 

3.  Of  the  Resolution  of  the  Dominant  Seventh,  122 

4.  Of  Modulation, 126 

Chap.  III.      Of  Discords. 

Sect.  1.     Discords  of  Transition, 130 

2.  Discords   of  Suspension. 134 

3.  Discords  of  Syncopation, 139 

4.  Discords  of  Addition, 140 

Chap.  IV.     Of  Cadences. 

Sect.  1.     Of  radical    Cadences, 149 

2.     Of  medial  Cadences, 152 

Chap.  V.      Of  Sequences. 

Sect.  1.     Of  dominant  Sequences, 154 

2.  Of  mediant  Sequences, 154 

3.  Of  inverted  Sequences, 155 

4.  Of  simple  sequences, 156 

5.  Of  compound  Sequences, 157 

6.  Of  irregular  Sequences, 153 

Chap.  VI.     Of  Licences. 

Sect.  1.     Of  Pedal  Harmonies, 160 

2.  Of  the  extreme  sharp  Sixth 161 

3.  Of  partial  Modulation,    .......  163 

4.  Of  the  rule  of  the  Octave. 164 

5.  Of  Chromatic  Modulation, 166 

6.  Of  Enharmonic  Modulation, 163 


Vlll  CONTENTS. 


RHYTHM. 
Chap.  I.      Of  Accent. 

Page 

Sect.  1.     Of  simple  Measures, J  71 

2.  Of  compound  Measures, 174 

3.  Of  mixed  Measures, 176 

4.  Of  Emphasis, 177 

Chap.   II.      Of  the  Musical  Foot. 

Sect.  1.     Of  simple  Feet,     .........  179 

2.     Of  compound  Feet, 181 

Chap.  III.     Of  the  Musical  Ccesure.     .     .  183 

Chap.  IV.     Of  the  Phrase. 

Sect.  1.     Of  the  regular  Phrase, 186 

2.  Of  the  irregular  Phrase, 189 

3.  Of  interwoven  Phrases, 192 

Chap.  V.      Of  the  Section. 

Sect.  1.     Of  the.  regular  Section, 194 

2.  Of  the  irregular  Section, 196 

3.  Of  the  interwoven  Section, 197 

4.  Of  the  Codetta,      .     . 199 

Chap.  VI.      Of  the  Period. 

Sect.  1.     Of  the  Tonic  Period, 201 

2.  Of  the  Dominant  Period, 203 

3.  Of  the  interwoven  Period,      .....  205 

4.  Of  the  Coda, 208 


MUSICAL   GRAMMAR 


PART  I. 

THE   NOTATION   OF  MUSIC. 


CHAP.  I. 

OF  THE  STAFF. 

Art.  1.    Five  lines  drawn  over  each  other,  form 
Staff,*  or  support  for  the  notes  of  Music  ;  thus, 


On  these  Lines,  and  in  the  Spaces  between  them, 
the  heads  of  the  Notes  are  placed. 

2.  The  Lines  and  Spaces  of  the  Staff  are  counted 
upwards,  from  the  lowest  to  the  highest. 


Every  Line,  or  Space  is  called  a  Degree  .*f  thus  the 
Staff  includes  nine  Degrees,  viz.  five  Lines,  and  four 
Spaces. 

*  Sir  John  Hawkins  (vol.  i.  p.  427)  writes  the  word  Stave  for 
Staff.  Dr.  Burney,  v.  ii.  p,  87  :  "  The  regular  Staff  of  four  lines  was 
not  generally  used  in  the  church  till  the  13th  century." 

t  Christopher  Simpson,  Compendium  of  Practical  Musk,  1678, 
(3d  editO  p.  2. 

2 


10 


MUSICAL  GRAMMAR. 


3.  The  Notes  of  Music  consist  generally  of  two 
parts,  a  Head  and  a  Stem. 

The  Head  is  either  open  or  close  (that  is,  white  or 
black:)  and  must  always  be  placed  on  a  Line,  or  in  a 
Space. 

The  Stem  may  turn  up  or  down,  without  making  any 
difference  in  the  Music. 


WHITE  NOTES. 
On  lines.  In  Spaces. 

zdE 


t= 


BLACK  NOTES. 
On  Lines.  In  Spaces. 


4.  When  more  than  nine  Notes  are  wanted,  the 
Spaces  above  and  below  the  Staff  are  used,  and  two 
more  Degrees  are  gained  ;  thus, 

P &_ 


P 


5.  If  more  Notes  than  these  are  required,  then  add- 
ed Lines*  are  drawn  above  or  below  the  Staff,  and  the 
Notes  are  placed  on  them ;  thus, 

Line   S  —  — 
above. 


*  The  added  Lines  were  formerly  called  Ledger  or  Leger,  short  or 
light  lines.  The  latter  term  is  adopted  by  Mr.  Holden,  in  his  Essay 
(1770)  art.  56. 


NOTATION.  11 

Any  number  of  Lines  may  be  added  above  or  below; 
thus  the  Degrees  of  the  Staff  are  increased  at  pleasure. 

6.  In  Music  for  Keyed  Instruments,  when  a  Staff  is 
wanted  for  each  hand,  they  are  joined  together  by  a 
Brace ;  the  upper  Staff  for  the  right  hand  part^and  the 
lower  Staff  for  the  left. 


If: 

II : 


I!  ========= 

U=======E= 

When  more  than  two  Staves  are  joined  together  by 
the  Brace,  they  contain  Music  for  different  voices,  or 
instruments,  to  be  performed  at  the  same  time.  This 
union  of  Staves  is  called  the  Score.* 


CHAP.  II. 
OF  THE  CLEF. 

Sect.  1. — of  clefs  us  general. 

Art.  7.  The  Notes  of  Music  are  named  from  the 
first  seven  letters  of  the  alphabet, 

A,  B,  C,  D,  E,  F,  G. 

When  the  Melody,  or  Tune,  exceeds  these  seven,  the 
same  series  of  letters  must  be  repeated. 

*  Dr.  B.  ii.  440:  "The  word  Score  probably  originated  from  the 
Bar,  which,  in  its  first  use,  was  drawn  through  all  the  parts,  as  ii 
should  be  still,  of  a  piece  of  music  in  partition  or  partitura." 


12 


MUSICAL  GRAMMAR. 


8.  A  Clef*  is  a  mark  representing  a  letter,  placed 
at  the  beginning  of  the  Staff,  to  determine  the  names 
of  the  Degrees,  and  is  always  situated  on  aline.  There 
are  three  Clefs : 


TheF. 

E3E 


The  C. 


The  G. 


These  are  commonly  called  the  Base,  the  Tenor,  and 
the  Treble. 

9.  The  sounds  of  Music  are  distinguished  by  their 
difference  in  respect  of  pitch,  and  divided  into  High 
and  Low :  the  high  sounds  are  placed  in  a.  Staff  with 
the  G  Clef,  and  called  Treble ;  the  low  sounds  are 
placed  in  a  Staff  with  the  F  Clef,  and  called  Base. 

10.  The  upper  sounds  of  the  Base,  and  the  lower 
ones  of  the  Treble,  are  also  called  Tenor,  and  some- 
times placed  in  a  Staff  with  the  C  Clef. 

11.  These  three  Clefs  are  five  Degrees  distant  from 
each  other;  the  C  or  Tenor  Clef,  being  the  Note 
where  the  Base  ends  and  the  Treble  begins.  The  G 
or  Treble  Clef,  is  five  Degrees  above ;  and  the  F  or 
Base,  is  five  Degrees  below,  both  inclusive. 


fgabcd     efg 

12.  All  the  degrees  of  the  Staff  depend  upon  the 
Clef;  and  consequently  take  their  names  from  that 
Line  on  which  the  Clef  is  placed.  It  must  always  be 
remembered,  that  these  Clefs  are  representatives  of 
the  letters,  f,  c>  and  ^ 

*  Sir  J.  H.  writes  Cliff,  i.  431  :  iii.  51,  89 ;  iv.  162.— Dr.  B.  ii.  90. 
"  Clefs  were  originally  nothing  more  than  the  letters  of  the  alphabet, 
placed  opposite  to  notes  of  the  same  name." 

•f  The  utility  of  Clefs,  in  respect  of  human  voices,  is  explained  by 
Dr.  B.  ii.  457.    See  also  Malcolm,  p.  332 ;  and  Holden,  art.  54. 


NOTATION. 


13 


Sect.  II. — Of  the  G  or  treble  clef. 

13.  The  G  Clef*  must  tarn  on  the  second  Line  of 
the  Staff;  all  the  Notes  on  that  Line  are  called  77; 
the  other  Degrees  take  their  names  from  that,  as  the 
Clef  Line. 


g....gg g ....Qn  the  Clef  Line. 

The  nine  Degrees  of  the  Treble  Staff  are, 

egbdf        face 
14.    The  Degrees  above  and  below  the  Staff  are, 


The  other  added  Degrees  are  reckoned  from  these, 
whether  above  or  below. 


Sect.  III. — Of  the  F  or  base  clef. 

15.  The  F  Cleft  must  be  placed  on  the  fourth 
Line  of  the  Staff,  so  that  the  two  dots  are  in  the  third 

*  The  G  Clef  is  a  compound  character  of  the  letters  G  and  S,  for 
the  syllable  Sot.  In  old  Music,  the  two  letters,  g  and  s,  are  some- 
times seen  distinctly  marked.  Turner's  Essay  '1724.  p.  34:)  Dr. 
Pepusch,  Treatise  on  Harmony  1731  ;  Rameau,  Treatise  (1752.)  Sir 
J.  H.  iii.  105-  ascribes  the  earliest  use  of  our  present  character  to 
Lampadius  (1537)  ii.  408;  iii.  54. 

f  The  F  Clef  is  a  compound  character,  formed  originally  ofihres 
2* 


14 


MUSICAL  GRAMMAR. 


and  fourth  Spaces ;  all  the  Notes  on  that  Line  are  call- 
ed f ;  the  other  Degrees  take  their  names  from  that,  as 
the  Clef  Line. 


fc-OEZZ 


mE^EE 


Z....On  the  Clef  Line. 


The  nine  Degrees  of  the  Base  Staff  are, 

liiiHiiii 

GBdfa        Aceg 
16.    The  Degrees  above  and  below  the  Staff,  are, 


17.  The  Note  C,  on  the  added  Line*  below  the 
Treble,  and  on  that  above  the  Base,  are  exactly  the 
same  sound  ;  thus  the  lower  Notes  of  the  Treble  may 
be  expressed  in  the  Base, 


us  I 


m 


c    d     e 


Notes,  one  placed  on  the  Line,  and  two  others  in  the  adjoining  Spa- 
ces 5  thus, 


The  C  Clef  was  distinguished  from  the  F,  by  having  only  the  two 
Notes  in  the  Spaces ;  and  these  Clefs  were  adopted  in  the  Gregorian, 
while  colored  fines  were  used  for  the  more  ancient  Ambrosian  Chant. 
Franchinus  Gafurius,  Practica,  lib.  i.  cap.  3,  fol.  4,  b.  edit.  1496  and 
1502. 

*  When  the  added  lines  between  the  Treble  and  Base  frequently 
occur,  it  is  usual  in  old  Music  to  find  the  C  Clefs  in  both  upper  and 
lower  Staves.    See  Scarlatti's  Lessons,  ii.  12. 


NOTATION. 


and  the  higher  Notes  of  the  Base  may  be  expressed  in 
the  Treble, 


b    a 


c     b 


18.    The  same  Notes  may  be  thus  written  in  both 
the  F  and  G  Clefs, 


Sect.  IV. — Of  the  Counter   Tenor  Clef,   or  C 

ON    THE    THIRD   LINE. 

19.  When  the  C  Clef  is  placed  so  that  the  two 
cross  strokes  enclose  the  middle  Line,  it  is  called  the 
Counter  Tenor*  or  Viola  Clef. 


© ....On  the  third  line. 


*  This  is  also  called  Alto  and  Contralto.  It  borrows  the  two  lower 
lines  of  the  Treble  for  its  upper  Degrees,  and  the  two  upper  lines  of 
the  Base  for  its  lower  Degrees.  The  middle  line  is  the  added  one 
between  the  Treble  and  Base.  This  Clef  is  used  in  Handel's  400 
Songs,  ii.  No.  130  :  "O  fairest  of  Teu  Thousand;"  iii.  No.  192: 
"See  the  conquering  Hero  comes  j"  v.  No.  379 :  "Hide  me  from 
day's  garish  eye." 


16 


MUSICAL  GRAMMAR. 


The  nine  Degrees  of  the  Viola  Staff  are, 


face 


g    b     d    f 


These  correspond  with  the  Notes  in  the  Treble  and 
Base  Clefs,  given  in  the  Example  of  Art.  18. 

20.  The  Counter  Tenor  Clef  is  used  for  the  high 
voices  of  men  in  Vocal  Music,  and  for  the  Viola  or 
Tenor  Violin  in  Instrumental  Pieces. 


Sect.  V.— Of 


the    Tenor   Clef, 
fourth  line. 


ON    THE 


21.  When  the  C  Clef  is  placed  so  that  the  two  cross 
strokes  enclose  the  fourth  Line,  it  is  called  the  Tenor 
Clef.* 


liiiii 


.On  the  fourth  line. 


The  nine  Degrees  of  the  Tenor  Staff  are, 


mm 


MZ~ 


d    f 


b    d 


These  Notes  are  five  Degrees  above  those  in  the  Base 
Clef,  Art.  15. 

22.  The  Tenor  Clef  is  used  for  the  middle  voices 
of  men,  and  for  the  Violincello  or  Base  Violin,  in  In- 
strumental Music,  when  the  passage  ascends  above  the 
Base  Staff. 

*  The  Tenor  Clef  borrows  the  lowest  line  of  the  Treble  for  its  up- 
per Degree,  and  the  three  highest  lines  of  the  Base  for  its  lower  De- 
grees. The  fourth  line  is  the  added  one  between  the  Treble  and 
Base.  Examples  of  this  Clef  may  be  found  in  Handel's  Songs,  i. 
No.  49  :  "  How  blest  the  Maid  ;"  No.  57 :  "  But  oh,  sad  Virgin  j" 
ii.  No.  148 :  "  What  passion  cannot." 


NOTATION. 


17 


Sect.  VI. — Of  the  Soprano  Clef,   or  C  on  the 
first  line. 

23,  When  the  C  Clef  is  placed  so  that  the  two 
cross  strokes  enclose  the  lowest  Line,  it  is  called  the 
Soprano*  or  Canto  Clef. 


I 


■  q —....On  the  first  line. 


The  nine  Degrees  of  the  Soprano  Staff  are, 


-# — \ 


d    f 


These  Notes  are  three  Degrees  below  those  in  the 
Treble  Clef,  Art.  13. 

24.  The  Soprano  Clef  is  used  for  the  voices  of  fe- 
males and  children.  In  Italy  and  Germany,  no  other 
Clef  is  in  general  use  for  the  Harpsichord  ;  the  G  Clef 
being  reserved  for  the  Violin,  Flute,  &c. 


Sect.  VII. — Of  the  Mezzo   Soprano,  the  Bari- 

TONO,   AND    HIGH   TREBLE    ClEFS. 

25.    In  old  Vocal  Music,  the  C  Clef  is  placed  on  the 
second  Line,  and  called  the  Mezzo  Soprano. 


b    d     f 


a 


*  The  Soprano  Clef  borrows  the  four  lowest  lines  of  the  Treble  for 
its  upper  Degrees  ;  and  the  first  line  is  the  added  one  between  the 
Treble  and  Base.  These  three  C  Clefs,  the  Soprano,  Alto,  Tenor, 
with  the  Base  F  Clef,  form  the  four  regular  Clefs  of  Choral  Counter- 
point. See  Dr.  Boyce's  Calhedral  Music,  3  vols.  1760  ;  and  new  edi- 
tion 1788.  This  Clef  is  also  used  in  Handel's  Songs,  iii.  No.  176 ; 
"  Hark  he  strikes  the  golden  lyre  3"  and  in  his  thirteen  Italian  Duetts. 


18 


MUSICAL  GRAMMAR. 


26.  In  old  Church  Music,  the  F  Clef  is  placed  on 
the  third  Line,  and  called  the  Baritono. 

iliifiii! 

Bdfac        ceg-b 

27.  In  old  French  Music,  the  G  Clef  is  placed  on 
the  first  Line,  and  called  the  High  Treble.* 


CHAP.  III. 
OF  THE  NOTES. 

Sect.  I. — Of  notes  in  general. 

Art.  28.  The  Notes  of  Music  represent  sounds, 
with  their  difference  of  pitch,  and  their  duration  in 
time.f  These  two  qualities  are  called  the  Tune  and 
Time  of  Notes. 

29.  When  to  any  series  of  the  seven  letters  the 
eighth  is  added,  the  whole  number  is  termed  an  Oc- 
tave ;\  and  the  word  is  frequently  used  to  express  the 
two  extreme  Notes  of  the  series,  the  first  and  the 
eighth. 

*  These  three  Clefs  are  inserted  here,  chiefly  to  show  how  entirely 
the  other  Deurees  depend  on  the  Clef  Line,  and  to  impress  on  the 
mind,  that  the  Clefs  themselves  are  the  letters  C,  F,  and  G.  Exam- 
ples of  these  two  first  Clefs  are  found  in  Padre  Martini,  Saggio  di 
Contrappunto,  1774.  The  last  G  Clef  is  used  by  Bethizy  (Exposition 
de  la  Musique,  1764,)  in  some  of  the  plates  at  the  end  of  his  work. 

f  Our  present  Notation  was  considerably  improved  (if  not  invent- 
ed) by  Guido  of  Arezzo,  and  Franco  of  Cologne.  Sir  J.  H.  i.  422 ; 
ii.  17,  140,  217,  237.     Dr.  B   ii.  35,  134,  152,  443. 

X  The  seven  letters  were  formerly  called  Septenaries ;  but  as  they 
are  incomplete  and  imperfect  in  their  melody  or  tune  without  the 
eighth,  they  are  now  termed  Octaves.  Butler's  Principles  (1636,)  p.  13. 


NOTATION.  19 

30.  That  series  of  the  seven  letters  which  begins 
and  ends,  with  C,  ascending  or  descending,  is  most 
satisfactory  to  the  ear. 

cdefgabc 

31.  On  keyed  instruments,  these  Notes  are  per- 
formed by  striking  the  long  keys,  whose  names  are 
known  by  their  situation  with  respect  to  the  short  keys, 
which  are  generally  black. 

32.  The  black  keys  are  placed  in  alternate  divi- 
sions of  two  and  three,  throughout  the  key-board  ;  and, 
as  the  long  key  between  the  two  short  ones  is  always 
D,*  the  other  six  letters  may  be  readily  found  from 
that;  E  'being  the  next  long  key  towards  the  right 
hand;  C  the  next  towards  the  left,  &c.  &c. 

33.  The  Cf  nearest  the  middle  of  the  instrument, 
is  the  Tenor  Clef  Note  ;  the  next  G  towards  the  right, 
is  the  Treble  Clef  Note  ;  and  the  nearest  F  towards 
the  left,  is  the  Base  Clef  Note. 

34.  To  distinguish  the  different  Notes  of  the  same 
letter  from  each  other,  the  Germans  have  adopted  a 
literal  Notation,  called  their  Tablature,\  which  from 
its  ingenuity  and  utility,  deserves  to  be  more  univer- 
sally known  than  it  is  at  present. 

35.  The  lowest  series  of  seven  Notes,  which  in- 
cludes both  the  divisions  of  short  keys  in  the  key- 
board (beginning  with  the  tivo,)  is  called  by  the  Ger- 
mans the  great  Octave^  being  expressed  by  capital 
letters  ;§  thus, 

*  The  keys  which  enclose  the  divisions  of  two  short  ones,  are  C 
D  E;  and  the  remaining  four,  F  G  A  B,  have  the  other  division  of 
three  short  ones  between  them. 

t  The  number  of  Keys  varies  on  different  instruments;  but  the  C 
nearest  to  the  middle  is  always  the  Tenor  Clef  Note. 

J  The  German  Tablature  was  invented  in  the  16th  century;  a 
specimen  of  it  may  be  seen  in  the  tract  entitled  Monochordum  An- 
drea; Reinhardi,  Lipsise,  1604  (z,  23,)  in  the  Saville  Collection,  Ox- 
ford.    Dr.  B.  ii.  121. 

||  On  some  old  instruments,  (particularly  Organs.)  the  lowest  Note 
on  the  left  hand  is  the  great  C  ;  but,  in  general,  Harpsichords,  &c. 
extend  downwards  to  F  F.  The  six  octave  Grand  Piano  Fortes 
reach  to  C  C  below,  and  as  far  as  C,  four  times  marked  in  the  Treble, 
on  the  right.  It  has  been  observed,  p.  24,  that  these  Octaves  are  in 
reality  only  Septenaries. 

§  In  our  old  scales,  the  letters  below  the  Base  A  were  made  double, 
and  those  above  the  Treble  Staff  termed  in  alt;  but  the  Septenaries 
were  then  reckoned  from  A,  not  from  C  ;  and  the  limits  of  Base 
Tenor,  and  Treble,  not  accurately  defined. 


20 


MUSICAL  GRAMMAR. 


C       D      E       F      G       A      B 

36.    The  next  series  of  seven  Notes  is  called  the 
small  Octave,  expressed  with  small  letters  ;  thus, 


c       d        e        f       g 

37.  The  next  series  commences  with  the  C  Clef 
Note,  including  the  G  Clef;  and  being  expressed  by 
a  small  stroke  over  each  letter,  is  called  the  once- 
marked  Octave. 


c       d        e         f       g       a       b 

38.  The  last  series  in  general  use  is  called  the 
twice-marked  Octave. 

c       d        e        f       g        a        b 

39.  The  few  Notes  below  the  great  Octave  are 
marked  with  double  capitals,  and  called  Contra  Tones. 
Those  above  the  Treble  form  another  series,  called  the 
thrice-marked  Octave.* 

*  If  these  Notes  were  arranged  by  Septenaries  from  G,  on  the  first 
line  of  the  Base,  then  the  appellations  of  Base,  Tenor  and  Treble, 
might  be  more  appropriate  ;  the  Base  Septenary  would  end  with  the 
F  Clef;  the  Tenor  C  Clef  would  be  the  middle  note  of  its  own  series; 
and  the  Treble  would  begin  with  its  own  G  Clef.  This  is  the  Gam- 
mut  given  by  Butler,  p.  13,  17.  The  more  ancient  Scales  formed 
their  Septenaries  from  A,  and  the  Gammut  at  G  was  added  below. 
Olareanus  Dodecachordon  (1547,)  lib.  i.  cap.  2,  p.  3. 


NOTATION. 


21 


40.  Any  musical  example,  in  which  all  the  Notes 
are  of  equal  length,  may  be  expressed  by  this  Tabla- 
ture,  without  the  assistance  of  the  Staff  or  of  the  Clef. 
According  to  this  Notation,  we  may  observe, 

The  P  Clef  Note  is  the  small  f. 

The  C  Clef  Note  is  the  once-marked  c. 

The  G  Clef  Note  is  the  once-marked  ~g^ 

41.  The  descending  series  of  these  Octaves  is  ex- 
pressed in  Notes,  thus  in  the  Treble, 

rr-t  i   ■••■!": 1  -I  •  I    .■  - 


cbagfedcba 
and  thus  in  the  Base, 


d    c 


iiiiiil 


cb     agfed     cBAGFEDC 

42.  In  vocal  Music  these  Notes  are  sung  with  the 
syllables  introduced  about  the  vear  1022.  by  Guido,  a 
Monk  of  Arezzo,  in  Tuscany:  UT,  RE,  MI,  PA,  SOL, 
LA.  ;#  called  by  his  followers  the  Hexachord. 

The  French  retain  the  original  six,  with  the  addition 
of  SI  for  the  seventh.f 

UT,  RE,  MI,  FA,  SOL,  LA,  SI,  UT. 

cdefg        abc 

43.  The  Italians,  for  the  sake  of  a  softer  pronuncia- 
tion, have  changed  the  UT  into  DO. 

*  A  particular  account  of  Guido  mav  be  found  in  Sir  J.  H.  i.  422  ; 
Dr.  B.  ii.  72;  If.  La  Borde  (Essai  1780,)  iii.  345. 

t  The  addition  of  the  Syllable  Si  was  introduced  bv  Le  Maire,  Sir 
J.  H.  i.435;  Dr.  B.  ii.  98." 

3 


22  MUSICAL  GRAMMAR. 

DO,  RE,  MI,  FA,  SOL,  LA,  SI,  DO.* 
44.    This  general  scale  of  notes  was  formerly  called 
the  Garnmut,]  from  which  the  Greek  letter   Gamma, 
placed  on  the  lowest  line  of  the  Base  Staff,  or  great  G 
of  the  German  Tablature. 


Sect.  II. — Or  the  Tune  of  Notes. 

45.  The  Tune  of  Notes  depends  upon  their  relation 
to  each  other,  and  upon  the  distances  between  them. 
The  intervals  between  the  Degrees  of  the  Scale  are 
unequal  ;|  and,  as  some  are  nearly  twice  the  distance 
of  others,  the  words  Tone  and  Semitone,  are  employed 
to  express  them. 

46.  Those  Notes  which  on  the  key-board  are  not 
separated  by  a  short  key,  are  said  to  be  distant  from 
each  other  one  Semitone  ;§  those  which  have  a  short 
key  inserted  between  them,  are  distant  two  Semitones, 
or  one  Tone.  Thus,  the  distances  between  B  C  and 
between  E  F,  are  Semitones  ;  and  those  between  C  D, 
DE,  F  G,  G  A,  and  A  B,  are  Tones  ; — therefore  every 
series  of  the  eight  regular  Sounds,  or  of  the  Octave, 
contains  five  Tones,  and  two  Semitones. 

47.  The  greatest  care  must  be  taken  not  to  misun- 
derstand the  words  Note  and  Tone.\\     A  Note  is  the 

*  The  change  of  Ut  to  Do,  is  mentioned  by  Sir  J.  H.  v.  197  3  Dr- 
B.  ii.  93. 

f  This  succession  of  syllables  invented  by  Ghiido,  was  also  applica- 
ble to  the  two  other  Notes,  F  and  G  (which  form  our  Clefs,)  and 
their  following  sounds.  Hence  arises  the  word  Oammut,  or  Gamma 
Ut,  it  being  the  Ut,  or  first  sound  of  the  G  Hexachord,  denoted  by  the 
Greek  letter  F.  Dr.  B.  ii.  87  ;  Butler,  p.  17  ;  Ornithoparcus  (Dow- 
land's  Translation,  1609,  p.  10.) 

The  celebrated  Prussian  Chapel-master,  C.  H.  Graun,  employed 
the  following  syllables — da,  me,  ni,  po,  tu,  la,  be,  which  are  adopted 
by  Hiller,  in  his  Anweisung  zum  Gesange  (2d  edit.  1798;)  not  like 
those  of  Guido,  to  ascertain  the  intervals  of  the  Scale,  but  merely  to 
accustom  the  vocal  student  to  sing  upon  all  the  vowels,  intermixed 
with  the  principal  consonants. 

X  Holden,  art.  7  ;  Malcolm,  p.  229  (of  Degrees,)  chap.  viii.  §  2. 

§  An  exception  to  this  rule  is  found  in  those  organs  which  have 
what  is  called  short  Octaves,  and  in  which  the  two  lower  Keys  are 
tuned  to  G  G  and  C  C,  although  close  together  like  B  C. 

||  Even  the  accurate  and  learned  Butler  uses  these  terms  in  a  vague 
manner,  (p.  22.)  He  first  says  :  "■  From  Mi  to  Fa,  and  from  La  to 
Pha,  is  but  half  a  tone;  between  any  other  two  Notes  there  is  a 
whole  tone."  Then  he  adds  :  "  But  in  singing,  how  to  tune  each 
Note  and  half  Note  to  his  fellow,  cannot  be  declared  by  precept." 


NOTATION. 


23 


Sound  which  is  heard,  or  the  mark  which  represents  it 
on  the  Staff;  but  a  Tone  is  the  distance  between  two 
Notes,  which  are  called  by  the  names  of  two  adjoining 
letters,  and  separated  by  one  single  key  of  the  instru- 
ment. Thus,  the  distance  from  A  to  B  "is  a  Tone  ;  and 
therefore  A  is  a  tone  lower  than  B,  and  B  a  tone  high- 
er than  A. 

48.  The  same  observation  must  be  applied  to  the 
Semitones,  which  are  sometimes  called,  though  im- 
properly, halfJVotes.  The  distance  from  B  to  C  is  a 
Semitone  ;  therefore  B  is  a  Semitone  lower  than  C, 
and  C  is  a  Semitone  higher  than  B. 

49.  By  comparing  the  sounds  C  D  E  F  with  the 
following  sounds  G  A  B  C,  we  find  that  the  distances 
of  both  these  fourths*  consist  exactly  of  two  Tones 
and  a  Semitone  ;  therefore  any  Tune  formed  by  one, 
will  be  exactly  similar  to  that  of  the  other. 


50.  These  two  fourths,  taken  in  succession,  form  a 
Scale,  of  which  the  chief  sound  being  C,  is  from  thence 
called  the  Key  N6te.\  The  descending  series  of  this 
Scale  corresponds  with  the  common  tune  of  eight  bells. 

*  The  ancient  term  for  the  fourth  was  Tetrachord .-  arid  since  the 
theory  of  Rameau  has  been  known,  the  old  ideas  on  the  subject  have 
been,  with  some  variation,  revived.  Most  of  the  modern  writers 
(particularly  Holden)  have  thought  it  necessary  to  consider  the  Oc- 
tave as  composed  of  two  fourths,  which  are  disjoined  or  separated  by 
a  tone.  As  a  Practical  introduction  to  Musical  Science,  this  arrange- 
ment may  be  considered  as  correct;  although  theory7  does  not  allow 
the  perfect  mathematical  equality  of  the  fourths,  in  respect  to  the 
places  of  the  Tones  which  compose  them. 

t  The  term  Key  is  used  by  Dr.  Pepusch,  in  the  sense  of  Church 
Tone,  or  Ecclesiastical  Mode.  In  this  species  of  Music,  the  chief 
Melody,  or  Plain  Chant,  was  confined  to  the  natural  sounds  of  the 
Scale.  Treatise  on  Harmony  (1731,)  p.  65;  Sir  J.  H.  i.  360.  A  par- 
ticular account  of  the  eight  Tones  of  Italy,  and  the  twelve  Modes  of 
Oermany,  may  be  found  in  Mr.  Kollman's  Essavon  Musical  Harmony 
(1796,)  chap,  xviii.  p.  124  •  also  in  Sir  J.  H.  ii.  410— 440. 


24 


MUSICAL  GRAMMAR. 


-© 


"rt 


Scale  of  C. 

Ascending. 

zrdz: 

Descending. 


©  — i 


•©- 


51.  The  effect  of  these  Notes  to  the  ear,  depends 
upon  the  position  of  the  Semitones.  This  may  be 
easily  perceived  by  playing  eight  Notes,  from  d,  or  e, 
or  any  other  part  of  the  Scale,  which  will  not  produce 
the  same  melody. 


-©"- 


—  © 


52.    But  if  the  same  letters,  in  any  Octave  higher  or 
lower,  are  taken,  the  same  Tune  will  be  heard. 


:§:  .p.  -f 

II  II 

II  II 

mill 

.11111 

mi  1  1  1  1 

(   i  a 
1   III 

l    l<DI 
1    III 

In  this  series,  the  two  Semitones  of  the  Octave  are 


NOTATION.  25 

found  between  the  third  and  fourth,  and  between  the 
seventh  and  eighth,  of  the  ascending"  Scale.* 

53.  This  series  of  sounds,  which  is  performed  on 
the  Organ,  &c.  with  the  long  keys,  is  called  the  Natu- 
ral Scale,  to  distinguish  it  from  that  which  employs  the 
short  keys  intermixed  with  the  others,  called  the  Chro- 
matic or  Artificial.f 

54.  In  the  Vocal  Scale  of  the  Solfeggio,  the  place 
of  the  Semitone  is  ascertained  by  the  syllables  mi  fa 
and  si  do ;  between  all  the  others  is  the  distance  of  a 
Tone.t. 

55.  As  the  whole  doctrine  of  Melody,  or  the  Tune 
of  Notes,  must  depend  on  a  right  conception  of  the  two 
Semitones,  and  their  places  in  the  Scale,  great  atten- 
tion should  be  paid  to  this  part  of  the  subject  by  every 
Musical  Student. 


Sect.  III. — Of  the  Time  of  Notes. 

56.  The  duration  of  a  Note,  with  respect  to  Time, 
Is  known  by  its  particular  form  ;  and  the  distinction 
between  Notes  in  this  respect,  is  shewn  by  making 
them  white  or  black,  and  by  the  Stem  and  the  Hook. 
{See  Art.  3.) 

The  three  principal  Notes  are,  the  Minim,  the 
Crotchet,  and  the  Quayer.§ 

57.  The  Minim  is  a  white  Note  with  a 1 — ^ 

Stem  made  thus,  and  IJ 

is  as  long  as  two  Crotchets,  or  four  Quavers.    ; — g — ■ 

58.  The  Crotchet  is  a  black  Note  with  a 1 — ■ 

Stem,  made  thus,  Z3 

and  is  as  long  as  two  Quavers.  — ■• 


*  The  reason  why  the  Semitones  fall  in  these  places,  and  in  no 
other,  may  be  found  in  the  theoretical  writers,  Dr.  Holder  (1731 J  p. 
112;  Malcolm,  p.  229  ;  Mr.  Holden,  p.  16,  art.  43 ;  Maxwell,  Essay 
on  Tune  (1781,)  p.  5. 

f  Malcolm  calls  this  the  Semitonic  Scale,  p.  291;  and  the  short 
keys  Artificial  Notes,  p.  292.  Its  more  usual  name,  Chromatic,  will 
be  explained  hereafter.  Antoniotto  (1760)  terms  the  Minor  Mode  Ar- 
tificial, p.  35. 

X  The  word  Tone  will  be  used  throughout  this  Grammar  in  this 
sense,  and  no  other  ;  although  it  is  applied  also  to  the  quality  of 
sound  in  a  voice  or  instrument.  Thus  it  is  said,  "  A  fine  Tone  is 
produced  from  the  Violincello,"  &c. 

$  Butler,  p.  27,  28,  has  given  a  long  account  of  the  origin  of  these 


26  MUSICAL  GRAMMAR. 

59.  The  Quaver  is  a  black  Note  with  a  — - — ■ 

Stem,  and  a  Hook,  made  thus,  p— 

and  may  be  divided  into  two  Semiquavers  or  :~— [-• — • 
four  Demisemiquavers.  ^ 

60.  The  proportions  of  these  three  principal  Notes 
to  each  other,  are  therefore  as  under, 

. \ 1-| 1 ±-^ ijp ^ lap- 
One               Two                             Four  *^ 
Minim.        Crotchets.                    Quavers. 

61.  When  the  Quaver  is  divided  into  smaller  por- 
tions, the  two  following  Notes  are  employed : 

The  Semiquaver,  which  is  made  like  the £v — * 

Quaver,  but  with  two  Hooks,  !d—__«_ 

being  half  the  length  of  the  Quaver  :  ; — •#—■—- 

and  the  Demisemiqvaver,  which  has  three  — — Nr — ■ 

Hooks,  IS! 

being  one  quarter  the  length  of  the  Quaver.  ZHW~ZZ2 
Their  proportions  to  the  Crotchet  are, 


One  Two  Four  Eight 

Crotchet.    Quavers.        Semiquavers.  Demisemiquavers.* 

62.  In  slow  Music,  especially  that  in  the  church 
style,  two  longer  Notes  are  used  ;  the  Semibreve,  and 
the  Breve. 

The   Semibreve]  is  a  round  white  Note,  ~ ~ 

without  a  Stem,  ' 

and  is  as  long  as  two  Minims,  or  four  Crotch-  7~~Q~ — • 
ets. 

Notes,  from  Gafurius,  Glareanus,  and  Listenius.  See  also  Sir  J.  H. 
ii.  146 ;  Dr.  B.  ii.  167  ;  Malcolm,  p.  388 ;  Holden,  art.  63. 

*  The  Demisemiquaver  also  is  divided  in  modern  Music,  and  the 
Notes  marked  with  four  Hooks:  these  may  be  called  half  Demisemi- 
quavers ;  and  those  which  have  five  Hooks,  quarter  Demisemiqua- 
vers. Playford,  Introduction  (14th  edit.  1700,)  p.  8,  calls  the  first  of 
these  a  Demiquaver ;  which  term  is  also  used  by  some  other  writers. 
See  Holden,  art.  64. 

"f  The  Breve  and  Semibreve  are  in  daily  use  for  our  Choir  Service. 
See  Boyce's  Cathedral  Music. 


NOTATION. 


27 


The  Breve  is  a  square  white  Note,  and • — ■ 

is  as  long  as  two  Semibreves,  four  Min-  —  I_^ ~ 

ims,  or  eight  Crotchets.  ~"~— ~,~; — ' 

The  proportions  of  the  three  white  Notes  are, 


63.   The  proportion  of  our  modern  Notes,  both  white 
and  black,  is,  therefore, 


=:EzfrEE§-|SE?r 


One  Two 

Semibreve.  Minims. 


Four 
Crotchets 


Quavers. 


64.     Those  Notes  which  are  made  with  Hooks,  may 
be  grouped*  together  by  two,  three,  or  four,  &c. 


Detached. 


Quavers. 


Grouped. 


— £-^ ^-b#-** ^— *— jp>8U-  LLLt- 

Semiquavers. 
Detached.  Grouped. 

^-B=Br5rBr5rS35:::i:r^r:ttcE:r 

Demisemiquavers. 
Detached.  Grouped. 


tFptt£tHm 


*  The  term  Groppo  or  Group,  is  commonly  limited  to  those  passa- 
ges of  four  Notes  in  which  the  first  and  third  are  on  the  same  De- 
gree, and  the  second  with  the  fourth  are  a  Degree  higher  and  lower. 
Koch's  Lexicon,  art.  Groppo,  die  Walze.  PI  ay  ford.  (p.  20,)  calls 
these  Hooks,  when  joined  together,  Tyes  ;  a  term  which,  he  also  re- 
marks (p.  19,)  is  used  for  what  we  now  denominate  a  Slur.  As  the 
word  Tye  is  also  applicable  to  the  Ligature  or  Bind,  the  term  Group 
has  been  preferred  by  the  Author. 


28  MUSICAL  GRAMMAR. 

This  method  is  not  only  convenient  in  writing,  but  as- 
sists the  eye  in  ascertaining  the  proportion  of  the 
Notes,  and  is  of  particular  use  in  Vocal  Music,  to  dis- 
tinguish the  Notes  which  are  to  be  sung  to  each  syl- 
lable. 

65.  Every  Musical  Piece  is  divided  into  equal  por- 
tions of  time  called  Measures.  These  are  ascertained 
by  straight  lines,  called  Bars,  drawn  down  the  Staff. 
All  the  Notes,  therefore,  contained  between  two  Bars, 
constitute  one  Measure.* 


66.  Every  Measure  must  contain  a  certain  number 
of  Notes,  according  to  the  Time  marked  at  the  begin- 
ning of  the  Movement.  Thus,  in  Common  Time,  each 
Measure  includes  a  Semibreve,  or  its  value  in  Minims, 
Crotchets,  or  Quavers,  intermixed  as  the  Melody  re- 
quires. The  exact  length  of  the  Measure  is  known  by 
regularly  dividing  the  Time  into  equal  portions,  wheth- 
er the  Notes  themselves  are  long  or  short ;  as  every 
Measure  must  be  precisely  equal  in  time,  during  the 
continuance  of  the  Movement. 

67.  There  are  two  chief  species  of  Time,f  Common 
or  equal — and  Triple  or  unequal  time.  In  the  first,  we 
count  two,  four,  or  eight,  in  every  measure  ;  in  the  last, 
we  count  three  or  six. 

68.  I.  Common  or  equal  Time,  contains  one  Semi- 
breve, two  Minims,  for  Crotchets,  eight  Quavers,  or 
their  value,  in  every  Measure.  This  Time  is  known 
by  a  Semicircle^  placed  at  the  beginning  of  the  StafF 
after  the  Clef,  thus : 

*  In  common  language,  the  word  Bar  is  used  improperly  for  Mea- 
sure. Dr-  Rurney  (article  Bar,  Dr.  Rees'  Cyclopaedia)  accurately 
limits  the  signification  of  the  term  as  above.  Dr.  B.  ii.  191.  The 
parts  of  the  Measure  are  called  Times,  by  Mr.  Kollmann,  Essay  on 
Harmony  (1796,)  p.  73. 

•f  The  Germans  adopt  a  third  species  of  Time,  containing  four 
equal  parts  ina  Measure  5  which  will  be  noticed  hereafter,  in  treat- 
ing of  Rhythm. 

J  The  old  doctrines  of  Time,  Mode,  and  Prolation,  may  be  found  in 
Morley,  Ravenscroft,  and  Butler.  See  an  account  of  them,  and  of 
the  original  signification  of  this  mark,  in  Dr.  B.  ii.  183,  454 ;  Sir  J. 
H.  ii.  155. 


NOTATION. 

(Handel :  See  the  conquering.) 


29 


i-i-iii  3::i::^S^;^:iJ:-D 


69.  The  barred  Semicircle  is  used  to  denote  a 
quicker  Movement,  and  is  called  Alia  Breve;  because 
it  was  formerly  written  with  one  Breve  in  a  Measure, 
thus : 

(Orlando  Gibbons,  Dr.  Boyce,  V.  II.  59  : 
O  clap  your  hands.) 


d--1'© 


zza::i 


This  is  now  more  commonly  written  with  one  Semi- 
breve  in  a  measure,  by  dividing  those  of  the  Alia  Breve 
into  halves. 

(Handel,  Saul,  Dr.  Arnold's  edition  of  Handel's  Works, 
No.  112,  p.  36  :   Our  fainting  courage.) 


70.  All  other  Measures  are  marked  by  figures, 
placed  one  over  the  other  at  the  commencement  of  the 
Staff. 

The  figure  2  above  the  figure  4,  indicates  two 
Crotchets,  or  one  Minim,  in  each  Measure  ;  and  is  call- 
ed half  Time,  being  the  division  of  the  Semibreve. 

(German  Hymn,  Pleyel.) 


30 


MUSICAL  GRAMMAR. 


71.  The  most  usual  Measures  expressed  by  figures 
placed  at  the  beginning  cf  the  Staff,  are  the  follow- 
ing:* 


9 

16 


12 

8 


Of  these  Figures,  the  upper  one  shows  how  many- 
parts  are  contained  in  the  Measure  ;  and  the  lower 
one  represents  a  word,  shewing  how  many  of  these 
Notes  constitutes  a  Semibreve.  2,  signifies  Minims  ; 
4,  Crotchets ;  8,  Quavers ;  &c. ;  as  in  the  following 
Table  : 


3  Three 
2  Minims 
6  Six 

4  Crotchets 


3  Three 
8  Quavers 
9  Nine 
16  Semiquavers 


3  Three 

4  Crotchets 
6  Six 
8  Quavers 

<  12  Twelve 
\  8    Quavers 

72.  When  it  is  necessary  to  lengthen  a  Note  by 
half  its  value,  a  dot\  is  placed  after  it.  Thus,  a  dotted 
Minim  is  as  long  as  a  Minim  and  a  Crotchet,  or  as 
three  Crotchets. 


a  Crotchet  and 


A  dotted  Crotchet  is  as  long 
Quaver,  or  as  three  Quavers.} 


73.    II.  Triple,  or  unequal  Time. 


*  Grassineau's  Dictionary  (1740,)  p.  292,  article  Triple,  contains  a 
long  dissertation,  translated  from  Brossard,  on  the  ancient  method  of 
marking  these  Measures. 

t  The  dot  is  also  used  for  other  purposes,  viz.  to  mark  those  Notes 
which  are  to  be  played  distinctly  ;  as  also  to  show  the  place  of  repe- 
tition, &c.  as  will  be  explained  hereafter. 

X  All  the  notes  of  Music  may  also  have  a  double  dot  after  them, 
which  makes  them  longer  by  three  fourths.  Thus  a  Minim  twice 
dotted,  is  equal  to  three  Crotchets  and  a  half,  or  to  seven  Quavers, 


NOTATION. 


31 


Of  this  Time  there  are  three  different  species  in 
use  ;  namely, 

1.  Three  Minims,       ) 

2.  Three  Crotchets,    (in  a  Measure.* 

3.  Three  Quavers,     S 

(1.)    One    dotted   Semibreve,   or  three   Minims,   in 
every  Measure  ;  thus, 

(Handel's  Italian  Songs,  No.  64:  Verdi  Prati — Alcina.) 


(2.)    One  dotted  Minim,  or  three  Crotchets,  in  every 
Measure. 

(H.  S.  I.  No.  66 :  Fell  rage— Saul) 


:4rE3«rEz±=  —  tzhftz 


(3.)  One  dotted  Crotchet,  or  three  Quavers,  in  every 
Measure. 

(H.  S.  II.  128  :  No,  let  the  guilty  tremble— Saul.) 

74.  When  two  Measures  of  three  Crotchets,  or  of 
three  Quavers,  are  united  in  one,  by  the  omission  of  a 
Bar,  the  Time  is  called  Compound  Common ;  Common, 
because  every  Measure  is  equally  divided  ;  and  Com- 
pound, because  each  half  is  a  single  Measure  of  Triple. 

III.  Compound  Common  Time  has  three  species, 
in  general  use : 


*  These  three  species  are  very  similar,  particularly  if  the  two  last 
are  performed  slowly  ;  the  accents  of  all  three  being  alike. 


32 


MUSICAL  GRAMMAR. 


J 


1.  Six  Crotchets, 

2.  Six  Quavers,  J>  in  every  Measure. 

3.  Twelve  Quavers, 

(1.)  Six  Crotchets,  or  two  Measures,  of  three  Crotch- 
ets each,  joined  in  one. 

(H.  S.  II.  No.  124  :  Every  joy— Solomon.) 

(2.)  Six  Quavers,  or  two  Measures,  of  three  Qua- 
vers each,  joined  in  one. 

(H.  S.  IV.  287 :  Sound  an  alarm — Judas  Macabaus.) 

P:Srb££=Erfe:JiEferE=t: 

75.  When  two  Measures  of  six  Quavers  are  further 
united  into  one,  they  form  a  double  Compound  of  twelve 
Quavers  in  each  Measure,  and  are  equal  to  four  Mea- 
sures of  three  Quavers.  The  omission  of  the  Bars 
makes  some  difference  in  the  appearance  of  the  Music, 
and  influences  the  counting",  according  to  the  degree 
of  quickness  in  which  the  piece  is  performed.  But,  in 
other  respects,  the  division  of  the  Measure  has  no  pow- 
er of  altering  the  real  nature  of  the  Time  or  Tune  ; 
nor  can  the  Auditor  perceive  whether  the  Triple  Time 
performed  be  expressed  by  the  figures 


]2 


6        3 

8  or8 


(3.)     Twelve  Quavers,  or  one  Measure  of  twice  six 
Quavers,  or  four  times  three  Quavers. 


(H.S.I.  No.  54 

E:1I333: 


The  peasant  tastes 

mmi 


-Joseph.*) 

— *"- 


*  See  also  the  Pastoral  Symphony  in  the  Messiah,  and  the  last 
Movement  in  Corelli's  8th  Concerto. 


NOTATION. 


33 


The  same  Melody  in  six  Quavers  : 


fe^zi-tz-^zi-^d: 


The  same  Melody  in  three  Quavers 


wmsmmm 


It  may  perhaps  be  useful  to  those  who  do  not  per- 
fectly understand  the  value  of  the  Notes,  to  separate 
this  double  Compound  into  sirigle  Compound  and  into 
simple  Triple  ;  and  also  to  turn  three  Quaver  Time  in- 
to six  and  twelve  Quavers,  by  striking-  out  the  inter- 
mediate Bars  which  separate  the  Measures. 

76.    IV.  Compound  Triple  Time. 

Compound  Triple  Time  is  formed  by  dividing  the 
Measures  of  simple  Triple  into  nine  parts,  and  by  dot- 
ting the  Measure  .Vote*  of  the  original  Time.  Of  this 
there  are  three  species  : 

1.  Three  Minims  divided  into  nine  Crotchets. 

2.  Three  Crotchets  divided  into  nine  Quavers. 

3.  Three  Quavers  divided  into  nine  Semiquavers. 
(1.1    Nine   Crotchets,  or  three  Minim  Time,  divided 

into  Triplets. 

(Handel's  Italian  Duett,  No.  5,  p.  31  :    Va  Speme — 
Randall's  edit.) 

The  commencement  of  this  Movement,  and  its  other 
Measures,  are  simple  Triple  :  thus, 


\z^±.—^—^z 


u~\ 


*  By  Measure  A~ot.e,  is  meant  that  which  measures  the  Time  in  the 
lower  of  the  two  figures,  Art.  71. 


34 


MUSICAL  GRAMMAR. 


By  thus  changing  the  Notation,  the  advantage  is 
gained  of  presenting  the  simple  Measures  clear  to  the 
eye,  without  the  incumbrance  of  a  dot  to  each  Minim.* 

(2.)  Nine  Quavers,  or  three  Crotchet  Time  divided 
into  Triplets. 

(H.  S.  IV.  No.  319 :  Consider  fond  shepherd— Acis  arid 
Galatea.) 


The  commencement  of  this  Song,    and  the  other 
parts,  are  in  simple  Triple  :*  thus, 

(3.)    Nine  Semiquavers,  or  three  Quaver  Time,  di- 
vided into  Triplets. 

(H.  S.  II.  No.  156  :  Hush,  ye  pretty  warbling  choir — 

Acis  and  Galatea.) 

tcE^fc&EfctErfcdErfcfctd 


1 16:: 


The  vocal  part  of  this  Song  is  in  simple  Triple  ;  thus, 

pfit=±^e£EIE=fcbttId=-B-tstEd 

77.  From  these  two  species  of  Compound  Time 
(Common  and  Triple)  arise  various  kinds  of  mixt  Mea- 
sures, which  are  in  some  parts  equally,  and  in  others 
unequally  divided.f 

*  Malcolm,  p.  401. 

t  Gio.  Bat.  Doni.  remarks,  that  our  Morley  placed  in  different 
parts,  two  Notes  against  three,  and  three  against  four,  in  the  same 
Measure  or  Battuta  (Annotationi  sopra  il  Compendio.  Roma.  1640, 
p.  57.)     See  Dr.  Burney  (art.  Battuta,  Dr.  Rees'  Cyclopaedia.) 


NOTATION. 


35 


(H.  S.  IV.  No.  315  :  Til  to  the  well  trod  stage- 
Li 'Allegro) 


The  Triplets*  of  Common  Time,  which  are  here 
found  in  the  place  of  each  Crotchet  of  the  Measure, 
have  sometimes  the  figure  3  placed  over  them  ;  but  are 
generally  known  by  being  grouped  together,  and  then 
Form  one  of  the  single  parts  of  the  whole  Measure. 

The  same  use  of  the  Triplet  occurs  in  Triple  Time, 
when  the  Measure  Note  is  divided  occasionally  into 
three  parts  instead  of  two  ;  thus, 

(H.  S.  V.  No.  328 :  Far  brighter  than  the  morning.) 

*" jU-M33fr 


mmfBmm 


In  slow  Common  Time,  when  the  Quaver  is  the 
Measure  JVbte,  and  is  divided  into  three  Semiquavers, 
instead  of  two,  then  the  Time  is  really  24  Semiqua- 
vers.! 

(H.  S.  III.  No.  240  :  Cease,  O  Judah— Deborah.) 

dEfstd 


A  similar  passage  of  Semiquavers  is  found  in  the 
Triple  of  Quavers. 

(H.  S.  I.  No.  14  :  The  enemy  said — Israel  in  Egypt.) 

*  Kallmann,  Essay  on  Harm.  p.  75  (chap.  xi.  $  11.) 
t  Holden!P.  20,  art.  27. 


36  MUSICAL  GRAMMAR. 

When  the  Measure  itself  is  compound,  as  Six  Qua- 
vers, then  the  Triple  Subdivision  is 
18 
ig     Of  this,  an  example  may  be  seen  in  H.  S.  III. 

No.  181 :  The  raptured  soul — Theodora. 

The  same  number  of  Triplets*  (viz.  six)  is  also  found 
in  the  simple  Triple  of  three  Crotchets,  and  in  the  Com- 
pound Triple  of  six  Qy  avers.    An  example  of  ,gas 

derived  from  \    may  be  found  in  Dr.  Haydn's  2d  Sona- 

ta,  Op.  17,  p.  10  ;  and  another  of  .^  as  derived  from  g 

in  the  same  author's  3d  Sonata,  Op.  13,  p.  16. 

78.  There  is  also  a  species  of  Time,  called  Quin- 
tuple, which  contains  five  Crotchets  in  a  Bar ;  but  it  is 
very  seldom  used. 

Tartini  considered  this  Quintuple  proportion  as  unfit 
for  Melody,  and  impossible  to  be  executed.  Time 
has  shown,  that  neither  of  these  judgments  was  well 
founded.f 


Sect.  IV. — Of  the  Accent  of  Notes. 

79.  The  Bars  of  Music  are  not  only  useful  for  di- 
viding the  Movement  into  equal  Measures,  but  also  for 
showing  the  Notes  upon  which  the  Accent  is  to  be  laid. 

The  Measures  of  Common  Time  are  divided  into 
four  parts  ;  of  these,  the  first  and  third  are  accented; 
the  second  and  fourth  unaccented.  In  the  course  of 
this  Work,  the  accented  will  be  termed  strong  parts, 
and  the  unaccented,  weak  parts  of  the  Measure.^ 

*  The  Germans,  in  imitation  of  these  (which  they  term  Trioles,) 
place  sometimes  5,  7,  &c.  small  Notes  in  the  Time  of  4,  6,  &c.  of 
the  same  denomination,  and  term  them  duintoles,  Septimoles,  &c. 
Koch's  Lexicon  (1802,)  art.  Triole,  &c. 

|  Tartini,  Trattato  (1754,)  p.  114.  Dr.  B.  i.  82.  Mr.  Reeves'  Gyp- 
sey  Glee :  "  O  who  has  seen,"  contains  a  last  Movement  in  five 
Crotchet  Time — "  Come  stain  your  cheek" — which  produces  a  very 
good  effect. 

%  See  Ro'jsseau,Dictionnaire  (1768,) art.  Temps;  Sultzer's  Theorie. 


NOTATION. 


37 


(H.  S.  II.  No.  119:  Praise  the  Lord— Esther. 


5=B 

Strong  weak. 


£». 3E_I  —  A  —  —  Z3-J 


80.  The  Measures  of  Triple  Time  consist  of  three 
parts  ;  the  first  strong,  the  two  others  weak  ;  although 
the  last  part  is  rather  strong  in  comparison  of  the  mid- 
dle part* 

Up  the  dreadful  steep — Jephtha. 


81.  In  sloio  Common  Time  the  Accents  are  more 
frequent ;  but  they  are  found  in  the  same  proportion 
on  the  first,  third,  fifth,  and  seventh  Quavers,  which 
are  the  strong  parts,  while  the  second,  fourth,  sixth, 
and  eighth,  are  the  weak  parts. 

In  three  Crotchet  Time,  when  divided  into  Quavers, 
the  first,  third,  and  fifth  Quavers  are  strong ;  the  sec- 
ond, fourth,  and  sixth,  weak. 

In  six  Quaver  Time,  the  first  and  fourth  Quavers  are 
strong  ;  the  others  weak.} 

82.  From  the  nature  of  Accent  arises  the  necessity 
of  beginning  some  Movements  with  only  part  of  a 
Measure  ;  thus, 

(1.)     VVith  a  single  weak  part. 

(H.  S.  III.  No.  163  :  The  smiling  dawn— Jephtha.) 


The  author  has  translated  the  Temps  fort  et  foible  of  the  French 
writers  rather  than  the  Tempo  buono  e  cattivo,  of  the  Italians,  or  the 
Gute  und  Schlechte  Tuctzeit  of  the  Germans.  See  Koch's  Lexicon 
(1302,)  art.  Tact. 
*  Dr.  Burney  (art.  Accent,  Dr.  Rees'  Cyclopaedia.) 
f  An  example  of  the  same  Melody  in  these  two  different  Measures, 
may  be  found  in  Dr.  Arnold's  Lessons,  Op.  XII.  Lesson  2,  p.  4. 

4* 


38 


MUSICAL  GRAMMAR. 


(2.)    With  a  half  Measure. 
(H.  S.  III.  No.  162:    Welcome  as  the  cheerful  day— 
Jephtha. 

The  following'  Melody,  barred  in  two  different  ways, 
produces  two  opposite  effects,  the  Accent  falling  upon 
different  Notes. 

Scotch  Air — Corn  Riggs. 

Original  Melody. 


w. 


The  same,  barred  differently. 


83.  When  the  Composer  intends  that  the  weak  parts 
of  the  Measure  should  be  made  of  more  importance 
than  the  strong  parts,  such  deviation  from  the  regular 
Accent,  in  this  Work,  will  be  termed  Emphasis. 

In  passages  like  the  following,  the  Quavers  are  often 
grouped  together  according  to  the  Emphasis,  and  not 
(as  in  general)  according  to  the  Accent. 

(Haydn's  Symphony,  No.  III.  performed  at  Salomon's 
Concert.) 


mm 


In  the  two  first  measures  of  this  Example,  the  Qua- 
vers are  grouped  according  to  the  Accent;  in  the  third 
according  to  the  Emphasis,*  contrary  to  the  Accent ; 

*  The  Germans  divide  Accent  into  two  principal  species— Gram- 
matical and  Rhetorical :  the  first  is  here  termed  Accent,  the  last, 
'  isis. 


NOTATION. 


39 


and  in  the  fourth,  the  Accent  again  resumes  its  im- 
portance. 

The  Italian  words,  Rinforzando  Sforzato,*  or  their 
contractions,  Rinf.  Rf.  Sforz.  Sf.  .are  often  used  to 
mark  the  Emphasis,  and  sometimes  are  placed  over 
accented  Notes. 

As  every  species  of  Measure  may  be  subdivided  by 
Accents,  according  to  the  degree  of  quickness  in  which 
it  is  performed  ;  so  also  the  weak  parts  of  every 
Measure  may  be  occasionally  made  emphatic  at  the 
pleasure  of  the  Composer. 

84.  To  this  species  of  effect  may  be  referred  all 
syncopated  or  driving}  Notes  which  begin  on  the  weak, 
and  end  on  the  strong  part  of  the  Measure. 

(VanhalPs  Overture  in  C — periodical,  No.  42.) 


igilili 


In  this  Example,  the  Emphasis  is  on  the  syncopated 
Minims,  which  begin  on  the  second,  and  end  on  the 
third  part  of  the  Measure. 

(H.  S.  I.  No.  6 :  How  vain  is  man — Judas  MaccabcEus.) 

:^::-ziez**"-*-t  P 

gE-P^  _ 

In  this  example,  the  Emphasis  is  on  the  syncopated 
Crotchets,  which  begin  on  the  second  and  sixth  (or  the 
weak,)  and  end  on  the  third  and  seventh  (or  the  strong) 
parts  of  the  Measure. 

*  The  difference  between  Rinf.  and  Sforz.  is  explained  by  Mr. 
Shield  (introduction  to  Harmony,' 1800.)  p.  88. 

t  Morley  (edit.  1597 J  p.  90  (edit.  1771,)  p.  100.  Butler,  p.  64- 
Simpson,  p.  19.  Pepusch,  p.  57.  Rameau,  p.  112.  Holden.  p.  34, 
art.  98.  Kollmann,  Essav  on  Harmonv,  p.  96  (chap.  xiii.  $  21.)  Dr. 
B.  i.  103. 


40  MUSICAL  GRAMMAR. 

CHAP.  IV. 

OF  THE  RESTS. 

Art.  85.  When,  in  the  course  of  a  movement,  si- 
lence is  required  for  one  or  more  parts  of  a  Measure, 
that  silence  is  denoted  by  a  Rest,  or  Rests,  which  are 
counted  exactly  in  the  same  time  as  their  correspond- 
ing- Notes  would  be,  if  performed. 

The  Rests  of  the  white  Notes  are  made  in  the  mid- 
dle of  the  Staff;  thus, 

Rest  of  the  Breve.    Semibreve.      Minim. 

El.)    The  Breve  Rest  extends  from  Line  to  Line. 

(2.)    The  Semibreve  Rest  is  made  below  the  Line. 

(3.)    The  Minim  Rest  is  made  above  the  Line.* 

The  Semibreve  Rest  is  also  used  in  Triple  and  Com- 
pound Time,  to  express  the  silence  of  one  whole  Mea- 
sure ;  and  the  Breve  Rest  is  used  for  the  silence  of 
two  Measures. 

In  this  last  instance,  the  figure  2  is  generally  placed 
over  the  Rest ;  thus, 

86.    The  Rests  of  the  black  Notes  are  made  thus, 


*  The  Rest  of  four  Semibreves,  or  two  Breves,  passes  through  two 
Spaces.  This  is  only  used  in  the  single  parts  of  Instrumental  Pieces. 
Rousseau,  art.  Baton. 


NOTATION.  41 

(1.)    The  Crotchet  Rest  turns  to  the  right. 

{%)     The  Quaver  Rest  turns  to  the  left. 

(3.)  The  Semiquaver  Rest  turns  to  the  left,  and  has 
two  marks. 

(4.)  The  Demisemiquaver  Rest  has  three  marks,  and 
turns  to  the  left  also. 

As  the  Rests  are  inserted  in  the  Measures,  to  fill  up 
the  Time  when  no  Sounds  are  to  be  heard,  the  Per- 
former should,  of  course,  pay  particular  attention  to 
the  termination  of  the  Notes  which  precede  them. 

In  playing  Keyed  Instruments,  the  Rests  are  often 
much  neglected ;  and,  unless  the  Player  carefully  raises 
the  finger  from  the  Key  (but  not  too  far)  at  the  exact 
commencement  of  the  Rest,  the  intended  effect  is  de- 
stroyed. 

An  instance  of  the  great  attention  necessary  to  be 
paid  to  these  signs,  is  shown  in  the  following  Example, 
where  the  variety  of  these  three  Measures  wholly  de- 
pends on  the  Rests,  the  Music  being  exactly  the  same 
in  every  other  respect  of  Tune,  Time,  and  Accent* 


*  The  Author  is  induced  to  insert  here,  in  addition  to  these  re- 
marks on  the  observance  of  Kests,the  excellent  ideas  of  C.  P.  Em. 
Bach  (Versuch.  edit.  1787,  p.  85,  Vom  Yortrage.)  upon  the  true  me- 
thod of  playing  Keyed  Instruments. 

An  abridgement  of  his  system  is  thus  attempted  in  a  few  lines. 

"  To  form  a  clear,  pleasing,  and  expressive  Performer,  three  things 
are  requisite : 

"1.  To  play  correctly,  by  covering  every  Note  with  the  finger  be- 
fore it  is  struck  (when  possible,';  so  that,  in  the  most  difficult  passa- 
ges the  motion  of  the  hands  may  be  scarcely  perceived,  (p.  13.) 

"2.  To  make  the  Instrument  sing,  by  taking  one  finger  off  the  Key 
at  the  instant  the  other  strikes  the  foliowing  Note  ;  and  by  never 
plavina  the  Notes  short  or  detached,  except  when  expressly  marked, 
(p.  88.) 

"3.  To  play  with  expression,  by  forcing  the  finger  down  upon  the 
Key  (already  covered  and  lightly  touched.)  according  to  the  Accent 
or  Emphasis."     (p.  93.) 

On  this  subject  see  also  dementi's  Introduction,  p.  15,  Dussek'g 
Instructions,  p.  8.     Hullmandel's  Principles,  p.  19. 


42 


MUSICAL  GRAMMAR. 


CHAP.  V. 

OF  THE  SHARPS,  FLATS,  Sfc. 

Art.  87.  In  explaining  the  tune  of  Notes  (Art  45,) 
the  two  different  intervals  of  Tone  and  Semitone  have 
been  noticed.  Every  Tone  in  the  Natural  Scale,  is 
divided  into  two  Semitones,  by  an  intermediate  Sound. 
This  Sound  is  produced,  upon  Keyed  Instruments,  by 
striking  the  short  Key  inserted  between  two  long  ones, 
which  are  consequently  Tones  to  each  other. 


Sect.  I. — Of  the  Sharps. 

88.  When  the  short  Key  is  to  be  played,  instead  of 
the  natural  Note  below  it  (on  the  left,)  then  the  same 
letter  is  used,  with  the  additional  term  sharp.* 

89.  Thus,  to  make  another/ourM  similar  to  the  up- 
per one  of  C  (Art.  50,)  with  two  Tones  and  a  Semi- 
tone, and  placed  immediately  above  it,  at  the  distance 
of  a  tone  ;  the  F  natural  must  be  omitted,  and  the  F 
sharp  taken  in  its  stead. 


The  character  placed  before  F  is  called  a  Sharp.\ 

*  The  character  now  used  for  the  Sharp,  was  originally  designed 
to  represent,  by  its  four  cross  lines,  the  four  Commas  ofthe  Chro- 
matic Semitone.  Such  is  the  signification  ofthe  mark  given  by  Bon- 
tempi  (1695,)  p.  205,  from  the  Recanetum  of  Vanneo  (Roma.  1533;) 
but  Marcheto  de  Padua,  who  first  employed  it  (1274,)  does  not  men- 
tion this  circumstance.  See  Gerbert,  Scriptores  Ecclesiastici  (1784>) 
iii.  73,  89.     Dr.  B.  ii.  163,  351.     Sir  J.  H.  i.  78. 

|  The  Germans  consider  this  character  as  an  alteration  of  the  let- 
ter B,  and  call  it  a  Cross  (Kreuz,)  or  latticed  B  (Gegittertes  Be,  B  can- 
cellatum,)  Adlung  (Hiller's  edit.  1783,)  p.  251.  Sir  J.  H.  iv.  163. 
They  also  add  the  syllable  IS  to  the  names  of  those  letters  of  the 
Scale  which  are  sharpened.  Thus  Fis,  Cis,  Gis,  Dis,  Ais,  Eis5  and 
His,  signify  F,  C,  G,  D,  A,  E,  and  B  Sharp. 


NOTATION. 


43 


90.  These  two  Fourths  united,  form  a  new  Scale, 
of  which  G  is  the  Key  Note,  exactly  similar  to  C,  but 
five  degrees  higher.  Its  descending  series  proves,  by 
the  Melody,  that  the  Tones  and  Semitones  are  be- 
tween the  same  Degrees  of  the  Scale. 

91.  As  the  Scale  of  G  is  made  complete  by  this 
alteration  of  the  F  alone,  F  is  reckoned  the  first  Sharp. 

For  a  similar  reason  (that  of  forming  a  new  fourth 
above  the  upper  one  of  G  Scale,)  C  is  termed  the  second 
Sharp*  Thus  the  series  of  Sharps  ascends  by  fifths  ; 
which,  in  respect  of  the  Letters,  is  the  same  as  de- 
scending by  fourths. 

F     C    G    D    A 
12     3      4     5 

These  sharps  are  performed,  on  Keyed  Instruments, 
with  the  five  short  Keys  above  ;  that  is,  on  the  right 
hand  of  the  long  ones  :  the  division  of  two-f  consists' of 
C  sharp  and  D  sharp ;  the  remaining  three  are  F  sharp, 
G  sharp,  and  A  sharp. 

92.  But  since  there  are  no  short  Keys  between  E 
and  F,  nor  between  B  and  C,  which  are  only  Semi- 
tones to  each  other  (Art.  46,  48,)  F  natural  is  employed 
to  express  E  sharp,  and  C  natural  to  express  B  sharp. 

When  these  INotes,  E  and  B,  become  sharpened, 
their  own  long  Keys  are  never  used  ;  and,  by  their  in- 
troduction, the  series  of  Sharps  is  extended  to  all  the 
seven  Notes. 

F    C    G    D     A     E    B 
12     3     4     5     6     7 


Sect.  II. — Of  the  Flats. 
93.    When  the  short  Key  is  to  be  played,  instead  of 

*  The  French  use  the  term  Diese.  derived  from  the  Greek  word 
Diesis,  and  annex  it  to  the  syllables  of  Gvrido.  Thus.  Fartirsn  signi- 
fies F  sharp  :  Vt-di^e.  C  sharp.  «kc. 

t  See  Art.  39. 


44 


MUSICAL  GRAMMAR. 


the  natural  Note  above  it  (on  the  right,)  then  the  same 
letter  is  used,  with  the  additional  termjlat* 

Thus,  to  make  another  fourth,  similar  to  the  lower 
one  of  C  (Art.  50,)  with  a  Semitone  and  two  Tones, 
placed  also  below  it,  (extending  to  the  left,)  at  the  dis- 
tance of  a  Tone,  the  B  natural  must  be  omitted,  and 
the  BJiat  taken  in  its  stead. 


The  character  placed  before  B  is  called  a  Flat. 

94.  These  two  fourths  united,  form  a  new  Scale,  of 
which  F  is  the  Key  Note  ;  exactly  similar  to  C,  but 
five  Degrees  lower.  Its  descending  series  proves,  by 
the  Melody,  that  the  Tones  and  Semitones  are  be- 
tween the  same  Degrees  of  the  Scale. 


©—did 

95.  As  the  Scale  of  ¥  is  made  complete  by  this  al- 
teration of  B  alone,  B  is  reckoned  the  first  Flat.j  For 
a  similar  reason  (that  of  forming  a  new  fourth  below 
the  lower  one  of  the  F  Scale,)  E  is  termed  the  second 
Flat.  Thus  the  series  of  Flats  ascends  by  fourths, 
which,  in  respect  to  the  letters,  is  the  same  as  descend- 
ing by  fifths. 

*  The  mark  now  used  for  the  Flat,  was  originally  the  letter  B,  in- 
troduced to  avoid  the  Tritone  or  sharp  Fourth,  between  F  and  B  natu- 
ral. By  the  ancient  writers  (Guido,  &c.)  it  was  termed  B-molle  ;  that 
is,  the  soft,  or  (according  to  some)  the  moveable  B.  See  Oerbert  (De 
Cantu,  1774,  ii.  72.) 

fValthcr's  Lexicon  (17:52)  contains  a  long  article,  and  an  extract, 
from  Simon  de  Quercu  (1509)  on  the  subject.  Before  the  literal  No- 
tation of  the  middle  ages,  and  its  present  appellation,  B  flat  was  em- 
ployed as  the  Trite  or  third  sound  (descending,)  of  the  Synemmenon 
or  conjunct  Tetrachord  of  the  Greek  Scale. 

f  This  character  was  formerly  of  such  importance,  that  it  is  enu- 
merated by  Gafurius  among  the  Clefs  (see  the  Note,  p.  18,)  and  was 
accounted  the  Clef  of  the  F  Ilexachord,  as  the  other  two  clefs,  now 
called  Tenor  and  Base,  were  of  the  G  and  C  Hexachords.  These 
letters  were  selected  from  the  seven,  to  show  the  places  of  the  three 
Semitones,  in  the  three  different  Scales  of  Guido  termed  natural e  du- 
rum, and  molle;  and,  being  the  highest  sounds  of  the  two  which 
formed  each  Semitone,  were  always  sung  with  the  syllable  Fa. 


NOTATION.  45 

B    E    A    D    G 
12     3     4     5 

These  Flats  are  performed,  on  Keyed  Instruments, 
with  the  five  short  Keys  below  ;  that  is,  on  the  left  of 
the  long  ones :  the  division  of  two  consists  of  E  flat 
and  D  flat ;  and  the  other  three  are  B  flat,  A  flat,  and 
G  flat.  For  the  reason  given  (Art.  92,)  concerning  the 
Sharps,  B  natural  is  employed  to  express  CJIat,  and  E 
natural  is  employed  to  express  FJlat.  Thus  the  whole 
series  of  seven  Flats  is  completed. 

B    E    A    D    G    C     F* 
12     3     4     5     6    7 

This  series  is  exactly  the  reverse  of  that  given  of 
the  Sharps  (Art.  92.) 

It  must  be  recollected,  that  every  one  of  the  short 
Keys  has  two  different  letters  for  its  name,  according 
to  the  natural  Note  for  which  it  is  employed. 

Thus  the  middle  Key  of  the  three  short  ones  is 
equally  used  as  the  third  Sharp  in  the  place  of  G  natu- 
ral below  it,  and  as  the  third  Flat  in  the  place  of  A 
natural  above  it. 

96.  When  any  number  of  Sharps  or  Flats  are  placed 
after  the  Clef,  at  the  beginning  of  the  Staff,  they  af- 
fect all  the  Notes  of  the  same  letter  in  every  Octave 
throughout  the  Movement,  and  are  termed  the  Signa- 
ture. 

Those  which  occur  in  the  course  of  the  Movement, 
in  addition  to  the  others,  are  termed  accidental^  to  dis- 
tinguish them  from  those  of  the  Signature,  which  are 
essential  to  the  Scale  of  the  original  Key  Note. 

The  accidental  Flats  and  Sharps  only  affect  the 
Notes  which  they  immediately  precede,  and  those  of 
the  same  letter  which  follow  them  in  the  same  Mea- 

*  The  Germans  add  the  syllable  rs  to  the  names  of  the  letters 
which  are  flat  (except  B,)  which  retains  its  original  signification  ;  and 
their  series,  B,  Es,  As,  Des,  Ges,  Ces,  and  Fes,  correspond  to  the 
Scale  given  above.  See  also  Dr.  B.  ii.  73,  392,  upon  the  subject  of  B 
flat. 

The  French  use  the  term  bemol  from  the  Latin,  and  annex  it  to  the 
Vocal  Syllable  ;  thus  Si  bemol  is  B  flat  ;  Mi  bemol,  E  flat,  &c. 

t  Naumherger  (of  Readins,  Berkshire,)  in  his  translation  of  Turk's 
Klavier  Schule  (1804,)  p.  4,  translates  the  German  term,  Versefzung- 
zeichen,  Marks  of  Transposition.  Kollmann,  Essav  on  Harmony,  p. 
8,  calls  them  Occidentals.  See  also  Malcolm,  p.  365.  fiolden,  p.  21, 
art.  57. 

5 


46 


MUSICAL  GRAMMAR. 


sure  ;  but,  if  one  Measure  ends,  and  the  next  begins, 
with  the  same  Note,  the  accidental  Character  which 
alters  the  first  Note,  is  understood  to  affect  the  second. 


Sect.  III. — Or  the  Natural. 

97.  When  any  Note,  which  has  been  elevated  by  a 
Sharp,  or  depressed  by  a  Flat,  is  to  be  restored  to  its 
original  place,  the  character  called  a  Natural*  is  em- 
ployed ;  which  lowers  the  sharpened  Note,  or  raises 
the  flattened  Note  ;  thus, 

"  Fte-a 


The  Natural,  although  a  very  ancient  character, 
was  not  used  by  Morley,  Simpson,  or  Playford.  They 
always  employed  the  Flat  to  take  away  the  Sharp,  and 
the  Sharp  to  take  away  the  Flat,  in  the  same  manner 
as  we  now  use  the  Natural.f 

Hence  are  found,  in  old  Music,  the  Sharp  before  B, 
and  the  Flat  before  F ;  not,  as  now,  to  represent  B 
Sharp  and  F  Flat,  but  merely  to  take  away  a  preceding 
Flat  or  Sharp. 

The  Natural,  although  evidently  an  accidental  Cha- 
racter, and  a  more  general  expression  for  the  two  oth- 
ers (the  Sharp  and  the  Flat,)  is  sometimes  placed  es- 
sentially at  the  beginning  of  a  Strain,  when  a  former 
part  of  the  same  Movement  has  had  a  Sharp  or  Flat  in 

*  Gafurius  (Practica,  fol.  2,)  asserts  that  the  character  of  the  Natu- 
ral, or  B  duadrum  (i.  e.  Gluadratum,)  is  funned  of  two  Greek  Gam- 
mas joined  invertedly  (conversim  conjuncla;)  but  it  is  generally  de- 
scribed as  a  Gothic  or  square  B,  made  in  that  form  to  distinguish  it 
from  the  round  B,  which  expressed  the  Flat. 

The  ancient  printers,  not  having  a  proper  type  cast  to  represent 
this  character,  used  the  small  h  ;  a  specimen  of  which  may  be  seen 
in  the  Dialogo  of  Vincentio  Galilei  (1581,)  p.  4.  Jldlung  (edit.  1783,) 
p.  196,  attributes  the  German  method  of  using  the  letter  H,  instead  of 
B  natural,  to  the  same  cause.  See  Kollmann,  Essay  on  Composition 
(1799,)  p.  52.     Sir  J.  H.  v.  254. 

f  The  German  Scale  of  the  natural  Notes  is  A,  H,  C,  D,  E,  F,  G  ; 
not  A,  B,  C,  &c. ;  the  B  is  always  reserved  to  express  B  flat. 

The  French  call  the  Natural  Bcquarre,  (Rousseau.) 


NOTATION.  47 

its  Signature.  (See  Steibelt's  Sonatas,  Op.  37,  Turkish 
Rondo,  p.  10.)  According  to  its  power,  therefore,  of 
raising  or  lowering  any  Note  of  the  Scale,  the  Natural 
must  be  always  considered  as  representing  a  Sharp  or 
a  Flat* 


Sect.  IV. — Of  the  Double  Sharp. 

98.  After  all  the  Notes  of  Music  have  been  made 
sharp,  the  same  series  of  letters  begins  again,  and  F, 
being  the  first,  takes  the  name  of  jP double  Sharp.] 

It  is  performed,  on  Keyed  Instruments,  by  striking 
the  long  Key  G  natural  ;  which  is  not,  however,  to  be 
reckoned  thai  as  a  Tone  from  F  natural,  being  placed 
on  the  same  degree  as  F  (Art.  47,)  and  also  consisting 
of  two  Chromatic  (or  Minor)  Semitones. 


dEzzz1Bzzzz}$~ 


Sect.  V. — Of  the  Double  Flat. 

99.  In  the  same  manner,  after  all  the  seven  Notes 
of  Music  have  been  made  flat,  the  same  series  of  let- 
ters begins  again  with  B  :  and  that  being  the  first, 
takes  the  name  of  B  double  flat. X 

*  In  Handel's  Song  of  Pious  Orgies,  Judas  Maccabeus  (Xo.  1.)  tbe 
Natural  is  frequently  employed;  and,  in  one  particular  Measure, 
sharpens  the  Treble,  and  flattens  tbe  Base,  ilore  concerning  these 
characters  may  be  found  in  Butler,  p.  21;  Simpson,  p.  5  ;  and  Hoi- 
den,  p.  16,  art.  43.  Turner  (p.  51.)  calls  the  Natural  a  Mark  of  Resto- 
ration. 

f  The  Double  Sharp  is  sometimes  marked  with  a  single  cross  thus, 
-{-,  which,  according  to  Vanneo  (see  the  Xote,  p.  54.)  originally  rep- 
resented the  two  Commas  of  the  Q.uarter-tone,  or  enharmonic  Diesis, 
and  which  properly  represents  the  distance  between  the  F  double 
Sharp  and  the  G  natural. 

Keeble  (Harmonics.  1784J  p.  106,  censures  Kircfaer  and  Zarlino  for 
the  improper  use  of  this  character.  See  Kircher,  JJusanria,  (1650.)  i. 
145,  659.  Zarlino  (1589,)  i.  363.  Salinas  (1577.)  p.  131.  Padre  Mar- 
tini, Storia  (1757,)  i.  97,  J 08.  Lemme  Rossi  (1666.;  p.  45.  Sir  J.  H. 
i.  110. 

J  Tiis  Germans  hare  sometimes  employed  a  large  B,  as  the  ciiar- 


48  MUSICAL  GRAMMAR. 

It  is  performed  by  striking  the  long  Key  A  natural 
two  Chromatic  Semitones  lower.  It  is  worthy  of  no- 
tice, that,  as  the  first  Sharp  is  the  lowest,  and  the  first 
Flat  the  highest  of  the  three  short  Keys  which  are 
near  each  other ;  so  the  first  Double  Sharp  and  the  first 
Double  Flat  (the  only  two  in  general  use)  are  played 
with  the  two  long  Keys  which  are  enclosed  by  F  sharp 
and  B  flat.  f  '  8 


ifczzg:  _ 
:h — ^— ^ 


5=±=2=aqpiB 


i 


100.  As  these  two  Characters,  viz.  the  Double  Sharp 
and  the  Double  Flat,  seldom  occur,  the  mode  of  restor- 
ing the  single  Sharp,  or  Flat,  after  the  use  of  the  dou- 
ble Character,  varies  with  different  authors.*  Some 
use  a  single  Sharp  or  Flat ;  some  employ  a  natural,  or 
else  unite  the  single  Sharp  or  Flat  with  the  Natural  ;f 
thus,  -^  -#-,  -3-  (3  ;  and  others  again  leave  the  passage  to 
the  ear  and  judgment  of  the  performer,  who  ought 
they  suppose,  if  able  to  play  in  seven  Sharps,  to  know 
how  to  restore  the  altered  Note  to  its  proper  situation, 
without  any  particular  Mark. 

acter  of  the  Double  Flat.  The  difficulties  arising  from  this  mark  are 
stated  by  Turk  (Klavier  Schule,  1789.)  p.  50.  Dussek,  in  his  Intro- 
duction p.  36,  unites  the  two  B's  with  a  kind  of  hook,  similar  to  the 
grouping  of  Cluavers  (Art.  64,  p.  35.)  The  German  names  for  the 
Double  Sharps,  are  Fisfis,  Ciscis,  &c. ;  and  for  the  Double  Flats,  Be- 
be,  Eses,  Asas,  Desdes,  &c.     Adlung,  p.  254. 

*  Even  in  respect  of  the  Double  Sharp,  instances  are  found  in  Han- 
del, where  it  is  not  distinguished  by  any  particular  mark,  but  where 
only  a  common  single  Sharp  is  placed  against  F,  already  sharp  in  the 
Signature.     See  H.  S.  i.  No.  9:  Fly  from  the  threatening-. 

f  Some  of  the  writers  in  Germany  are  (as  Turk,  p.  52,  observes,) 
precipitate  in  their  judgments,  and  therefore  frequently  erroneous. 
G.  F.  Wolfe  (1783)  p.  22.  Lohlein  (1765,)  p.  11.  Tubel  (1767,)  p.  9. 
Merbach  (1782,)  p.  13, 


NOTATION. 


49 


CHAP.  VI. 

OF    GRACES,    CHARACTERS,    MARKS    OF 
EXPRESSION,  AND  ABBREVIATIONS. 


Sect.  I. — Of  Graces. 

Art.  101.  As  the  German  authors,  C.  P.  Emanuel 
Bach,  and  G.  D.  Turk,  have  treated  at  large  on  the 
subject  of  Musical  Graces  (Manieren,*)  a  short  sketch 
of  their  doctrines  will  here  be  given. 

102.  The  principal  Graces  of  Melody  are,  the  Ap- 
poggiatura,  the  Shake,  the  Turn,  an^  the  Beat ;  with 
the  Mordent,  Beat,  Slide,  and  Spring,  peculiar  to  the 
Germans.  The  chief  ornaments  of  Harmony  are,  the 
Arpeggio,  Tremando,  &c.f 

103.  I.  The  Appoggiatura\  (Vorschlag)  is  a  small 
Note  placed  before  a  large  one  of  longer  duration, 
from  which  it  generally  borrows  half  the  value,  and  al- 
ways occurs  on  the  strong  part  of  the  Measure. 

The  Appoggiatura  as  written. 


As  performed. 


si=ii§iii=i^j 


104.  Sometimes,  however,  the  Appoggiatura  is  only 
one  quarter  of  the  Note  it  precedes,  as  in  the  following 
Example ;  thus, 

*  Bach,  p.  45.    Turk,  p.  207. 

t  The  old  English  Graces,  published  by  Simpson  (Division  Viol, 
1667,)  as  defined  by  Dr.  Colman,  are  divided  into  two  classes, — the 
smooth  and  the  shaked  Graces.  In  the  first  class  are  the  Beat,  Back- 
fall, double  Backfall,  Elevation,  Springer,  and  Cadentj  in  the  second 
are  the  shaked  Backfall,  close  Shake,  shaked  Beat,  shaked  Elevation, 
shaked  Cadent,  and  double  Relish.    See  also  Playford,  p.  100. 

t  Dr.  Burney,  art.  Appoggiatura.    Dr.  Rees'  Cyclopaedia. 
5* 


50 


MUSICAL  GRAMMAR. 


.105.  When  a  small  Note  follows  a  larger  one,  and 
depends  upon  that  for  its  time,  the  name  of  After -Note 
(Nachschlag*)  will  be  used  in  this  Work,  to  distinguish 
it  from  the  Appoggiatura. 

This  Grace  always  occurs  on  the  weak  part  of  the 
Measure. 


106.  The  Germans  divide  these  Notes,  which  do 
not  constitute  the  essential,  but  the  ornamental  parts  of 
Melody,  into  two  classes.  I.  Passing  Notes  (Durch- 
gehende  Noten  ;)  and  II.  Changing  Notes  ( Wechselnde 
Noten  ;)  but  the  Appoggiatura,  wlien  it  is  a  suspension 
of  the  large  Note  before  it,  as  in  the  Example  just  ad- 
duced (Art.  103,)  does  not  belong  to  either  class. 
These  will  be  explained  in  the  Third  Part  of  this 
Work,  upon  Harmony. 

107.  II.  The  Shake]  (Triller)  consists  of  a  quick 
alternate  repetition  of  the  Note  above,  with  that  over 
which  the  mark  is  placed  ;  and  commonly  e«ds  with  a 
turn  from  the  Note  below.    It  is  usually  defined  thus  : 

*  The  German  word  JVachschlag,  is  also  used  to  express  the  turn 
of  the  Shake. 

t  Bach.  p.  51.  Turk,  p.  252.  Sir  J.  H.  iv.  469.  Dr.  B.  iii.  528, 
616.    Cleraenti,  p.  11.    Dussek,  p.  6.    Hullmandel,  p.  27. 


NOTATION. 


51 


Written. 


Performed. 

CZKKIK 


In  this  Example,  the  upper  Note  is  accented  :  there 
are,  however,  instances  in  which  the  Composer  seems 
to  have  designed  that  the  lower  Note,  or  that  over 
which  the  Shake  is  p]aced,  should  be  accented  ;  thus, 

(Handel's  second  Organ  Concertos,  Dr.  Arnold's  edit. 
No.  124,  p.  9.) 

\v  s — *N.4r 


-e- 


The  principal  or  written  Note  of  the  Shake  (over 
which  the  Character  is  placed,)  is  called  by  the  Ger- 
mans the  Haupt-ton ;  and  the  secondary  or  superior 
JXote,  the  Hulfston. 

108.  The  following  method  of  practising  the  Vocal 
Shake,  has  been  communicated  to  the  Author  of  the 
present  Work  by  his  friend  Mr.  Greatorex,  to  whom  it 
was  given  at  Rome,  in  the  year  1786,  by  Santarelli, 
Chapel-Master  to  the  Pope. 


O  — 


..And  so  descending  through- 
out the  Scale. 


Performed  in  practice  thus  : 


(•z£;_~^z£zSz£: 


S;ErtErE±^::::Ert:r^---t: 


109.    A  series  of  continued  Shakes,  on  Notes  rising 


52 


MUSICAL  GRAMMAR. 


or  falling  by  Degress,  is  called  by  the  Germans  Triller 
Kette,  and  by  the  Italians  Catena  di  Trilli,  both  signi- 
fying a  chain  of  Shakes. 

110.  The  Passing  Shake*  (Pratt  Triller)  is  ex- 
pressed in  Germany  by  a  particular  character ;  and  its 
definition  varies  with  different  Masters,  and  in  differ- 
ent passages.  The  explanation  of  Dr.  Arnold  (Op. 
XII.  p.  38)  is  therefore  given  here,  with  the  mark  he 
adopted  for  it. 


Written. 
//  // 


L>la^ 


Performed. 


The  Mordente  of  the  Italian  School  is  used  in  similar 
passages,  and  performed  thus : 


fiteizspsz: 


3P  ^  ^F=p=i=q      ECS!>S=3 


Some  remarks  on  the  various  methods  of  performing 
these  Graces,  are  given  by  Clementi  (Introduction,) 
p.  11. 

111.  III.  The  Turn*  (DoppelschJag)  employs  the 
Note  above  and  that  below,  in  the  following  manner: 


Written. 


Performed. 


Thus, 


or  thus. 


Thus,  or  thus. 


112.    The  Inverted  Turn  begins  from  the  Note  be- 
low. 


*  Turk,  p.  272. 


t  Bach,  p.  61 , 


NOTATION. 


(Dr.  Arnold,  Op.  XII.  p.  38.) 

Written.  Performed. 


2 


=EiIsl  Hi 


:£«£B=fc»fii 


The  Turn  on  the  dotted  Note  is  in  frequent  use. 

Written. 

in       co 


s" — N  Performed, 

t-FrK±t:r£-E: 


l 


113.  IV.  The  Beat*  is  the  reverse  of  the  Shake 
(but  without  the  turn,)  and  made  generally  at  the  dis- 
tance of  the  Semitone  below  ;  therefore  all  the  Natu- 
ral Notes,  excepting  C  and  F,  require  the  Note  be- 
low them  to  be  accidentally  sharpened  for  the  Beat 


Performed. 


:=£*£*; 


Ezi|[i|fe 


i 


*  Battement.     Turk,  p.  281. 


54  MUSICAL  GRAMMAR. 

The  Beat  upon  B  natural,  however,  is  seldom  made 
with  A  sharp,  on  account  of  the  great  harshness  aris- 
ing from  the  vicinity  of  the  Semitone  B  C. 

In  some  cases  of  regular  ascent,  it  is  recommended 
not  to  make  the  Beat  with  the  Semitone,  unless  par- 
ticularly marked.    (See  dementi,  p.  11.) 

114.  In  the  Half  Beat  ( Zusammenscfilag,)  the  infe- 
rior Note  is  struck  only  once,  and  at  the  same  time 
with  the  principal  Note,  but  is  immediately  quitted. 
This  is  frequently  used  upon  the  Organ,  and  particu- 
larly in  the  Base.*  It  may  be  written  by  a  small  Note, 
like  a  short  Appoggiatura,  and  is  very  similar  to  the 
Acciaccatura\  of  the  Italians. 


—  —     ■& 


isii 


115.  In  the  Third  Part  of  this  Work,  upon  Har- 
mony, will  be  shown  how  the  Diatonic  Suspensions 
and  Transitions  arise  from  the  Appogiatura  and  the 
After  Note ;  while  the  Chromatic  Licenses  are  derived 
from  the  Acciacatura  or  Half  Beat.  These  Graces  are 
therefore  of  very  great  theoretical  importance. 

116.  V.  The  German  Mordent\  (Beisser)  is  a  spe- 
cies of  Beat,  commencing  with  the  Note  itself,  and  is 
either  long  or  short ;  thus, 


Short. 


This  differs  considerably  from  the  Mordente  before 
described,  (Art.  110,)  being  made  with  the  next  De- 
gree below.  That  of  the  Italian  School  always  em- 
ploys the  next  Degree  above. 

*  Kollmann,  Essay  on  Composition,  p.  98,  terms  it  a  Base-Orace, 
and  shows  how  it  is  employed  to  strengthen  the  parts,  and  to  supply 
the  want  of  Pedals. 

\  Burney,  art.  Acciaccatura.    Dr.  Rees'  Cyclopaedia.     Gaspa- 
lonico  Prattico.  1729,  edit.  3d,  p.  63. 
},  73.    Turk,  275. 


NOTATION 


55 


117.  VI.  The  German  Beat*  (Anschlag:,)  consists 
of  two  small  Notes,  which  form  a  Skip,  and  descends 
one  Degree  upon  the  principal  Xote. 

Written.  Performed. 

-3mm 


In  the  Translation  of  Turk  (p.  26.)  Naumberger  calls 
this  Grace  a  double  Appoggiatura. 

118.  VII.  The  German  SlideT  (Schhiffer)  consists 
of  two  small  Notes,  which  move  by  Degrees ;  thus, 

Written. 

Performed. 

_  119.  VIII.  The  German  Springf  (Schneller)  con- 
sists of  two  small  Notes,  like  the  Italian  Mordente, 
but  very  distinct ;  thus, 


Written. 
!       ! 


Performed. 

1  I 


120.  All  these  Graces  are  liable  to  the  occasional 
alteration  of  any  of  their  Notes,  by  Sharps,  Flats,  or 
Naturals  ;  and  in  that  case,  the  Composer  is  expected 
to  mark  them  as  they  are  to  be  performed. 

121.  To  these  Graces  of  Melody  may  be  added 

*  Bach,  77.  Turk,  241 .    f  Blbh,  80.  Turk,  245. 
%  Bach,  63.     Turk.  25U 


56  MUSICAL  GRAMMAR. 

those  of  Harmony  ;  the  Tremolo  (Bebung,)  or  reitera- 
tion of  one  Note  of  the  Chord  ;  the  Tremando,  or  gen- 
eral shake  of  the  whole  Chord  ;  and  the  Arpeggio 
(Brechung,)  or  imitation  of  the  Harp,  by  striking  the 
Notes  of  the  Chord  in  quick  and  repeated  succession. 

122.  Clementi  (Introduction,  p.  9,)  has  given  an  ex- 
planation of  two  different  characters  used  for  a  Chord 
(or  combination  of  several  sounds  struck  together,) 
upon  Keyed  Instruments. 

(1.)  When  a  Waving  Line  is  placed  vertically  be- 
fore the  Chord,  the  Notes  are  played  successively, 
from  the  lowest  ascending  to  the  highest,  and  retained 
down  the  full  time  of  the  Chord. 

(2.)  When  an  Oblique  Line  passes  through  the 
Chord,  it  is  played  as  before,  with  the  addition  of  a 
Note*  where  the  Oblique  Line  is  placed  ;  but  this  add- 
ed Note  is  not  to  be  kept  down. 

Written.     Played. 


Sect.  II. — Or  the  Characters. 

123.  Those  Characters  used  in  Music  which  do  not 
form  a  part  of  any  particular  class,  like  the  Clefs, 
Notes,  Rests,  Sharps,  Flats,  Naturals,  or  Graces,  are 
the  Tye  or  Ligature,  the  Pause,  the  Repeat,  the  Direct^ 
the  Single  Bar,  and  the  Double  Bar.  But,  as  the  Tye 
is  similar  in  form  to  the  Slur,  it  will  be  classed  among 
the  Marks  of  Expression  in  the  next  Section. 

124.  The  Pause]  is  placed  over  a  Note  to  signify 

*  This  added  Note  is  the  Acciaccatura  before  described,  Art.  114, 
and  answers  to  the  Zusamvicnschlag  of  the  Germans.     Turk,  279. 

f  Butler,  p.  38,  calls  the  Rests  Pauses,  and  the  Pause  a  Close.  The 
Italian  term  is  Coronata,  Zaccharia  Tevo,  1705,  p.  25;  and  the  Ger- 
man, Fermate,  Petri,  Anleitung,  1782,  p.  i45.  Holden,  p.  37,  calls 
the  Pause  a  Hold. 

The  Pause,  when  found  on  the  last  Note  but  one  of  a  Melody,  is  a 
sign  for  the  Vocal  or  Instrumental  Performer  to  introduce  such  ex- 
temporaneous passages,  previous  to  the  final  Shake,  as  are  generally 
termed  a  Cadenza. 


NOTATION. 


57 


that  the  regular  time  of  the  Movement  is  to  be  delay- 
ed, and  a  long  continuance  of  the  Sound  made  on  that 
part  of  the  Measure. 

(H.  S.  II.  No.  82  :  Bless1  d  the  day— Solomon.) 


pllgiillliiiil 

125.  If  the  Pause  is  placed  over  a  Rest,  then  a  stop 
of  considerable  length  is  made  ;  and  the  part  must  be 
silent. 

(H.  S.  I.  No.  31 :  Let  festive  joy— Belshazzar.) 


— :T.^_^_g. 


ULL„U 

126.  The  same  character  is  employed  for  another 
purpose  in  those  Songs  of  Handel,  Hasse,  Vinci,  &c. 
which  have  a  second  part,  and  are  marked  Da  Capo.* 

(H.  S.  II.  No.  157 :  As  when  the  dove — Ads  and  Ga- 
latea.) 

The  Pause  in  this  Example,  only  shows  the  Note 
upon  which  the  piece  is  finally  to  terminate  ;  but  it  is 
not  always  followed  by  the  Double  Bar. 

127.  The  Repeati  (S)  is  a  sign  employed  to  show 
the  place  to  which  the  Performer  must  return  to  repeat 
the  passage.  It  is  usually  found  in  Rondos  and  Da 
Capo  Airs ;  and  it  marks  that  place,  in  the  first  strain, 
where  the  repetition  is  to  commence.  This  mark  is 
called  in  Italian,  Segno,  or  the  Sign. 

*  Da  Capo  are  two  Italian  words,  which  signify  from  the  beginning, 
and  are  frequently  joined  with  al  Segno,  which  mean,  that  the  Per- 
former is  to  return,  and  to  commence  the  Repeat  at  the  sign. 

t  Mark  of  Repetition.  Morley,  p.  74.  Simpson,  p.  19,  Malcolm, 
p,  411. 

6 


58 


MUSICAL  GRAMMAR. 


(H.  S.  I.  No.  153  :  War  he  sung— Alexander's  Feast.) 

128.  The  Direct*  {**£)  is  a  sign  employed  at  the 
end  of  the  Staff,  to  show  upon  what  Degree  the  first 
Note  of  the  following  Staff  is  placed. 


(Rameau,  Treatise,  p.  168.) 
m*ZZMkZ         ZM 


Eg3 

— h* — I — - 


129.  The  Si?igle  Bar\  has  been  already  mentioned 
(Art.  65,  p.  28,)  as  dividing  the  movement  into  equal 
portions  or  Measures.  It  is  considered  in  Germany  as 
a  mark  of  the  grammatical  Accent ;  since  the  first 
Time\  of  every  Measure  is  always  a  strong  part,  and  is 
distinguished  by  a  particular  pressure. 

When  the  inner  sides  of  two  Bars  are  dotted,  all  the 
Measures  between  them  are  to  be  repeated.  See  an 
instance  of  this  kind  of  repetition, 

(H.  S.  I.  No.  68 :  Sin  not,  O  King—Saul.) 

±mz: 


iiSiSiiiilii 


*  The  Direct  is  called  by  Morley,  p.  22,  Index  or  Director.  Butler, 
p.  37.     Holden,  p.  38,  art.  113. 

f  Butler,  p.  38,  terms  the  ancient  thick  single  Bar  the  imperfect 
Close.     Simpson,  p.  19.     Malcolm,  p.  411. 

X  The  Author  is  induced  to  adopt  the  expression  of  the  ancient 
authors,  and  to  call  the  parts  of  the  Measure,  Times.  Art.  65,  p.  28. 
See  also  Malcolm,  p.  399.  The  particular  utility  of  the  term  will  ap- 
pear in  the  Fourth  Part  of  this  Work,  upon  Rhythm. 


NOTATION. 


59 


fziq-^zfcpzz-zzzizzpfesJeZZizi:] 
ag^p^yejnnF— J 

The  word  JEKs  (twice)  is  sometimes  placed  over  pas- 
sages of  this  kind,  whether  the  Bars  are,  or  are  not 
dotted. 

130.  The  Double  Bar*  is  placed  always  at  the  end 
of  a  Movement,  and  is  sometimes  used  at  other  parts, 
to  show  the  rhetorical  termination  of  a  Strain. 

If  the  Double  Bar  is  dotted  on  one  or  both  sides,  all 
the  Measures  on  the  same  side  with  the  Dots  are  to 
be  repeated  from  the  beginning,  or  from  the  antece- 
dent Double  Bar. 

131.  When  the  rhetorical  termination  of  a  Strain 
does  not  coincide  with  the  grammatical  Accent,  the 
Double  Bar  is  then  totally  distinct  from  the  Single  Bar, 
and  the  Measures  are  only  reckoned  between  the 
Single  Bars,  although  the  Double  Bar  may  intervene. 

(H.  S.  V.  374:  Above  measure — Semele.) 

^:fi:g:qqqq:qq=q.in;Tq;-qT|-zri="=: 

y%— -__  5»£«_J__ II | I I _J_J  J _J |J|__L_L_ w 

This  Double  Bar  does  not  affect  the  Measure  in 
which  it  is  placed,  but  the  time  is  kept  exactly  as  if  it 
were  not  inserted. 

132.  As  it  appears,  from  the  preceding  observa- 
tions, that  the  Double  Bar  is  very  different  and  distinct 
from  the  Single  Bar,  the  grammatical  use  of  the  latter 
must  not  be  confounded  with  the  rhetorical  employ- 
ment of  the  former. 

133.  If  every  piece  of  Music  ended  with  a  com- 
plete Measure,  and  if  the  necessity  of  commencing 
with  single  Times  (Art.  82,)  did  not  sometimes  exist, 
the  Double  Bar  might  be  neglected  ;  but  as  it  is  im- 
portant to  mark  the  termination  of  those  Strains  which 
have  their  last  Measures  incomplete,  this  character  is 

*  Ornithoparcus,  p.  52,  calls  this  a  Rest  General  j  considers  it  aa 
analogous  to  the  other  Rests  described,  Art.  85,  p.  40,  and  places  it 
in  the  same  class  of  characters. 


60 


MUSICAL  GRAMMAR. 


adopted,  and  the  Double  Bar  bears  the  same  relation 
to  the  Strain  as  the  Single  Bar  does  to  the  Measure. 

134.  Every  Measure  contains  a  certain  number  of 
Notes  (Art.  66,)  which  are  terminated  by  the  Single 
Bar ;  and  every  Strain*  includes  a  certain  number  of 
Measures,  which  are  terminated  by  the  Double  Bar. 


Sect.  III. — Of  the  Marks  of  Expression. 

135.  The  chief  Marks  of  Expression  are,  the  Slur, 
and  the  Dash  or  Point ;  to  which  may  be  added  the 
Tye,  or  Ligature. 

136.  The  Tye]  is  an  arch  drawn  over  two  Notes 
on  the  same  Degree,  uniting  them  into  one.  Upon 
Keyed  Instruments,  the  first  only  is  struck ;  but  the 
finger  is  kept  down  during  the  time  of  both. 


(H.  S.  III.  No.  180:  Our  fruits— Joseph. 


137.  The  Tye  is  also  used  to  express  those  synco- 
pated Notes  which,  in  ancient  Music,  were  divided  by 
the  Bar. 

(Correlli,  Concerto,  I.  Opera  6th.) 

138.  The  Slur%  is  a  similar  arch,  drawn  over  two 

*  The  rhetorical  division  of  the  Strain  into  Phrases  Sections,  and 
Periods,  with  the  utility  of  the  Ceesure,  will  be  explained  in  the 
Fourth  Part  of  this  Work,  upon  Rhythm  ;  and,  as  the  Comma,  Semi- 
colon, and  Full  Stop  of  Elocution,  have  all  their  respective  analogies 
in  Musical  Punctuation,  by  the  Phrase,  Section,  and  Period  ;  so  also 
the  Colon  is  found  to  resemble  that  final  part  of  a  Movement  which 
is  termed  the  Coda. 

f  See  Note,  p.  27,  of  this  Work.     Holden,  p.  38,  art.  114. 

X  In  the  Translation  of  Turk,  p.  26,  the  term  Slur  is  applied  to  the 
Grace,  Art.  118,  called  SchleifTer  or  a  Slide. 


NOTATION. 


61 


or  more  Notes,  upon  different  Degrees,  and  signifies 
that  all  the  Notes  are  to  be  played  as  smoothly  and  as 
much  united  as  possible.  In  Vocal  Music,  it  is  placed 
over  or  under  all  the  Notes  which  are  to  be  sung  to 
the  same  syllable. 

(H.  S.  III.  No.  191 :  Our  limpid  streams — Joshua.) 
Tf- ^-1-C^C ^ * J 


139.  When  the  Slur  is  placed  only  over  two  Notes, 
the  second  is  generally  made  shorter  than  its  proper 
length.  Formerly,  this  effect  was  produced  by  exact 
Notation. 


(H.  S.  I.  No.  1 :  Pious  Orgies — Judas.) 


am 


w~=-~ 


tt73ragffij33^ 


Sir 


140.  The  Dash*  is  a  small  stroke,  placed  over 
those  Notes  which  are  to  be  performed  in  a  very  short 
and  distinct  manner. 

(H.  S.  III.  No.  182  :  Descend,  kind  pity— Theodora.) 


141.  The  Point  is  a  mark  employed  by  many  au- 
thors instead  of  the  Dash  ;  but  its  principal  use  is  to 
distinguish  those  Notes  from  which  an  intermediate  ef- 
fect, different  from  the  Slur  or  the  Dash,  is  required, 
and  yet  uniting  both. 


6' 


Holden,  p.  39,  art.  114. 


62  MUSICAL  GRAMMAR. 

(H.  S.  I.  No.  61  :  Comfort  ye— Messiah.) 

When  these  passages  are  performed  on  Keyed  In- 
struments, the  finger  is  not  kept  close,  as  in  the  Slur, 
nor  raised,  as  in  the  Dash,  but  dropped  gently  on  the 
Note,  and  taken  off  before  the  Time  is  wholly  com- 
pleted. 

142.  There  are  other  Marks  of  Expression,  which 
have  been  lately  adopted,  to  express  the  effect  of  cer- 
tain Italian  terms. 

(1.)     Crescendo,  or  increasing  the  sound  from 
soft  to  loud,  is  marked  by  an  angle,  the  lines     «r-"~" 
extending  to  the  right. 

(2.)    Diminuendo,  or  diminishing  the  sound 
from  loud  to  soft,  by  the  contrary  sign.  T» 

The  union  of  both,  indicates    that 
the  first  part  of  the  passage  is  to  be  -tJ 

soft,  the  middle  loud,  and  the  last  soft      «""     ~~^"  ^ 
again,  as  the  figure  shows. 

(3.)  Rinforzando  is  denoted  by  smaller  marks  of  the 
same  kind,  <  >  which  are  to  increase  or  diminish 
the  Note  as  marked. 


Sect.  IV. — Or  Abbreviations. 

143.  When  the  same  Note,  or  similar  passages,  are 
to  be  repeated,  much  time  is  saved  to  the  Composer 
and  Copyist,  by  the  use  of  Abbreviations. 

A  single  stroke,  over  or  under  a  Semibreve,  or 
through  the  Stem  of  a  Minim  or  Crotchet,  divides  them 
into  quavers ;  a  double  stroke  into  Semiquavers  ;  and 
a  triple  stroke  into  Demisemiquavers  ;  thus, 

(H.  S.  I.  No.  18 :  Let  the  bright  seraphim — Samson.) 


NOTATION.  63 

144.  These  passages,  in  Italian  Music,  had  former- 
ly the  word  Crome,  (Quavers.)  or  Semicrome  (Semi- 
quavers,) annexed  to  them.  At  present  we  often  use 
the  term  Segue,  to  signify  that  we  must  perform  the 
following  Notes  in  the  manner  in  which  the  first  are 
marked. 

145.  Another  kind  of  Abbreviation  is  very  frequent- 
ly used  in  modern  Music,  viz.  grouping  the  Stems  of 
Minims  like  those  of  Quavers,  (Art.  64.) 

(Pleyel's  Duos,  Viol,  and  Violonc.  Op.  12,  p.  2,  Violino.) 

Written.  Performed. 


Several  other  species  of  Abbreviation  are  given  in 
Koch's  Lexicon,  art.  Abkurzung ;  and  also  in  Clementi, 
p.  8.    Shield,  p.  124,  &c. 


PART   II. 

MELODY. 

CHAP.  I. 
OF  INTERVALS. 


Sect.  I. — Of  Intervals  in  general. 

Art.  146.  A  particular  succession  of  single  sounds 
forms  a  Melody*  or  Tune:  as  in  the  following  Ex- 
ample : 

(  God  save  the  King.) 


liiisiSiii 


*  This  simple  and  popular  definition  of  Melody,  only  presents  an 
outline  of  the  true  idea  annexed  to  the  term.  In  a  more  extensive 
sense,  Melody  implies  not  only  the  progression  of  one  single  part,  but 
also  that  general  result  of  the  various  parts  in  Harmony  which  pro- 
duce the  effect  of  Melody  by  the  proper  distribution  of  their  sounds. 
Prinz  seems  to  have  been  the  first  who  distinguished  between  the 
Monadic  Style,  in  which  the  Melody  is  confined  to  one  single  part, 
and  the  Polyodic  Style,  in  which  the  Theme,  and  its  dependent  sub- 
jects, are  distributed  among  the  different  parts  of  the  composition. 
These  two  epithets,  Prinz  appears  to  have  taken  from  Kircher  ;  and 
this  profound  and  original  view  of  Melody  has  been  very  ably  de- 
veloped by  Nichelman  of  Berlin,  who  clearly  proves,  that  those 
pieces  which  are  produced  by  the  Monodic  design  of  the  Composer, 
are  far  inferior  to  the  Polyodic  arrangement  of  the  same  ideas.  In 
this  last  class  we  may  place  the  Motetts  of  Palestrina,  the  Choruses 
of  Handel,  and  the  Symphonies  of  Haydn.  See  Prim  (Satyrical 
Composer,  Part  III.  chap.  xi.  chap,  xviii.  1696.  Kircher  (Musurgia.) 
Mchelman  (Melodie,)  1755. 


MELODY. 


65 


147.  Melody  has,  in  respect  of  Tune,  two  distinct 
Motions  ;  that  of  Degrees,  and  that  of  Skips.* 

A  Melody  proceeds  by  Degrees,  when  it  moves  to 
the  next  Line  or  Space  above  or  below,  as  in  the  fol- 
lowing' Example : 


(Lei  ambition  fire  thy  mind.) 


148.  A  Melody  proceeds  by  Skips,  when  it  omits 
one  or  more  Degrees,  as  in  the  "following  Example : 

(When  warlike  ensigns.) 

149.  In  general,  Degrees  and  Skips  are  intermixed  ; 
as  in  the  Melody  of  the  Easter  Hymn. 


#T 


(Jesus  Christ  is  risen  to  day.r) 


150.  The  Degrees^  and  Skips  of  Melody  are  both 
called  by  the  general  term  Interval ;  which  is  the  dis- 
tance between  two  Sounds,  or  their  difference  in  re- 
spect of  Pitch.  Every  Interval,  therefore,  implies  two 
Sounds  ;  one  acute,  the  other  grave;  in  common  lan- 
guage, high  and  loiv ;  and  as,  in  measuring,  it  is  usual 
to  consider  the  termination  of  distance  more  than  the 
space  contained  ;  so,  in  Music,  the  Notes  which  limit 

*  These  expressions  in  Italian,  are  di  grado,  and  di  salto. 

f  Printed  by  Walsh  in  1703,  in  a  Collection  of  Divine  Songs  and 
Hymns,  entitled  Lyra  Davidica.  The  Air  is  found  at  page  II,  but 
written  in  Quavers. 

%  The  word  Degree  has  been  applied  to  the  five  Lines  and  four 
Spaces  of  the  Staff;  but  it  is  necessary  to  extend  its  signification 
further,  and  to  comprehend  in  it  the  term  Interval;  since,  in  the 
Chromatic  Semitone,  B  flat  and  B  natural  are  on  the  same  Degree, 
and  yet  produce  different  Sounds,  forming  thereby  a  distance  or  In- 
terval. 


66  MUSICAL  GRAMMAR. 

the  Interval,  are  both  called  by  the  name  of  the  Inter- 
val itself.  Thus,  from  the  P  Clef  to  the  C  Clef,  is  con- 
tained the  Interval  of  a  fifth,  both  terms  inclusive  :  and 
C  is  said  to  be  a  fifth  above  F,  and  F  a  fifth  below  C. 


Sect.  II. — Of  the  Names  of  Intervals.* 

151.  The  names  of  Intervals  are  derived  from  the 
number  of  Degrees  which  are  contained  between  the 
two  Sounds  ;  both  extremes  being-  reckoned  inclusive- 
ly. Thus  the  Interval  of  a  Second  consists  of  two  De- 
grees ;  and  as  these  may  be  distant  from  each  other, 
either  by  one  Tone,  or  by  one  Semitone,  there  are  con- 
sequently two  kinds  of  Seconds,  viz.  a  Major  Second 
or  Tone,  and  a  Minor  Second  or  Semitone. 

152.  The  Natural  Scale  of  Music,  which,  proceed- 
ing by  Degrees,  includes  both  Tones  and  Semitones, 
is  called  Diatonic ;  a  word  compounded  of  Dia  and 
Tonic,  from  the  Greek  Dia  through,  and  Tonos  a 
Tone  ;  because  the  greater  number  of  Intervals  in  the 
Scale,  viz.  five  out  of  seven,  are  Tones. 

153.  The  Diatonic  Scale  includes  all  the  different 
Intervalsf  formed  by  the  Natural  Notes,  and  also  all 

*  The  inaccuracies,  which  sometimes  occur  in  very  respectable 
Authors,  concerning  Intervals,  arise  from  adopting  the  terms  of  com- 
mon language  without  sufficient  precaution.  See  Kollmann's  Tho- 
rough Bass  (1801.)  Shield.  For  example,  the  distance  from  one 
place  to  another  may  be  two  miles,  as  the  Interval  from  the  Note  C 
to  the  Note  D  is  formed  of  two  Semitones ;  and  as,  when  we  arrive  at 
either  place,  we  say  this  is  (the  end  of)  two  miles  ;  so  at  D  we  say 
this  is  (from  C)  a  Tone  ;  and  at  C,  this  is  (from  D)  a  Tone  ;  yet  the 
two  Sounds  only  form  the  Interval  of  two  Semitones. 

f  It  may  not  be  improper  to  remark,  that  a  considerable  difficulty 
arises  from  the  distribution  of  Intervals  upon  Keyed  Instruments, 
and  that  the  Student  does  not  readily  perceive  how  an  Interval  is  to 
be  found  between  two  Keys,  as  B  and  C,  or  E  and  F,  which  are  close 
together.  The  method  of  stopping  the  Violin,  or  the  Frets  on  the 
Guitar  and  Lute,  shows  the  nature  of  Intervals  much  more  clearly. 
For  instance,  the  third  string  of  the  Violin  is  tuned  to  the  once-marked 
D  (Art.  37  ;)  but  when  shortened  by  one  ninth  of  the  space  between 
the  Nut  and  the  Bridge,  will  sound  E,  a  Tone  higher  ;  one-sixteenth 
of  the  remaining  length  being  further  taken,  the  sound  F,  a  Semitone 
higher,  is  heard.  A  just  idea  of  Intervals  is  hereby  obtained  ;  and, 
as  the  latter  is  nearly  half  the  magnitude  of  the  former,  the  Interval 
from  D  to  E  is  called  a  Tone,  and  from  E  to  Fa  Semitone,  being  real 
Spaces  taken  upon  the  length  of  the  string. 


MELODY. 


67 


those  which  are  produced  in  transposing  the  Natural 
Scale,  higher  or  lower,  by  the  employment  of  Sharps 
and  Flats.  Those  Intervals  which  exceed  the  limits 
of  the  Octave,  as  the  ninth,  tenth,  eleventh,  &c.  being 
only  replicates  of  the  second,  third,  fourth,  &c.  are 
omitted  here,  but  will  be  particularly  noticed  in  treat- 
ing of  Harmony. 

Those  Intervals  which  are  less  than  the  Diatonic 
Semitone,  as  from  F  to  F  sharp,  &c.  will  be  distributed, 
with  all  other  Intervals  derived  from  them,  into  proper 
classes  in  the  third  Chapter  of  this  Part,  upon  the  Ge- 
nera. 


Sect.  III. — Of  the  Fourteen  Diatonic  Inter- 
vals. 

154.  As  the  Intervals  take  their  names  from  the 
number  of  included  Degrees,  so  also  their  species  are 
ascertained  by  the  epithets,  Major  and  Minor,  given 
them,  according  to  the  number  of  Tones  or  Semitones 
contained  inclusively  between  their  extremes.  If  the 
Intervals  were  all  equal  in  the  Scale,  eight  Degrees 
would  form  only  seven  Intervals  ;  but,  as  there  are  two 
different  distances  of  Semitone  and  Tone,  for  which 
the  Notation  by  the  Staff  alone  does  not  provide,  there 
are  consequently  fourteen  Diatonic  Intervals.  These 
are  distinguished  by  the  term  Major  or  Minor,  greater 
or  lesser,  and,  in  some  few  cases,  sharp  or  flat. 

155.  1.  The  Unison,  or  the  same  identical  sound, 
although  it  cannot  properly  be  reckoned  an  Interval,  is 
always  considered  as  such,  when  employed  in  Harmo- 
ny :  it  is  therefore  inserted  here  among  the  Intervals 
of  Melody.  The  present  opportunity  may  be  taken  of 
improving  the  Student  in  the  practice  of  the  seven 
Clefs,  and  showing  their  practical  utility. 

Example  of  the  Unison,  or  the  same  Sound  being 
the  once-marked  C  (Art.  37,)  in  all  the  Clefs. 


68 


MUSICAL  GRAMMAR. 


Example  of  the  Descending  Scale  of  the  once-marked 
Octave  in  the  G  and  C  Clefs. 


.■©— 


:zz:2z:jnr=?E§zfflEEE§r: !  I :  zzz:§:;: 


A  G 


D    C 


Descending  Scale  of  the  small   Octave  (Art.  36,)  in 
the  C  and  F  Clefs. 


:I:z§iazfii©i:§z:^z®=:Qz^z:lz:a:j 


C    B 


G 


D     C 


156.  II.  The  Minor  Second  is  formed  by  two 
Sounds,  at  the  distance  of  a  Diatonic  Semitone,  as  B 
C  and  EF.  C  is  a  Minor  Second  higher  than  B,  and  B 
a  Minor  Second  lower  than  C.  The  same  is  true  with 
respect  to  E  and  F.  This  Interval  is  sometimes  called 
the  Flat  Second;  and  the  term  is  useful  in  Harmony. 
It  is  found  also  in  the  other  Scales,  between  F  sharp 
and  G,  B  flat  and  A,  &c.  as  in  the  following  Example  : 

jr       q      n~t      ~         I  j  bo      TZ  I 

All  these  are  Diatonic  Semitones,  and  form  Minor  or 
Flat  Seconds.* 

157.  III.  The  Major  Second  or  Tone,  although 
composed  of  two  Semitones,  does  not  consist  of  two 
equal  parts.  This  is  evident  from  the  Notation  itself; 
for,  if  the  Tone  from  F  to  G  be  divided  by  the  Sound 

*  From  this  statement,  the  nature  of  Melody,  when  Sharps  and 
Flats  are  employed,  may  be  readily  perceived  ;  for,  after  a  Sharp,  the 
part  rises,  and  after  a  Flat  the  part  falls.  Thus  also  E  and  B  have 
the  effect  of  Sharps,  and  the  Melody  in  general  ascends  to  F  and  C  ; 
on  the  contrary,  F  and  C  have  the  effect  of  Flats,  and  the  Melody  in. 
general  descends  to.E  and  B.  The  importance  of  these  remarks  can- 
not be  justly  appreciated  till  the  transposition  of  the  Natural  Scale 
into  two  Sharps  and  into  two  Flats,  and  also  the  use  of  the  Semitone 
in  Harmony,  is  understood. 


xMELODY. 


69 


F  sharp,  then  the  Intervals  between  F  sharp  and  G,  or 
the  Diatonic  Semitone,  will  not  be  the  same  as  that 
from  Fto  F  sharp,  or  the  Chromatic  Semitone.  The 
former  changes  one  Degree,  the  latter  remains  on  the 
same  Degree  :  and  hence  the  former  is,  according  to 
the  theory  of  Zarlino,  Rameau,  and  Pepusch,  some- 
thing larger  than  the  latter.  The  Tones  and  other  In- 
tervals of  the  Natural  Scale  are,  in  this  Work,  sepa- 
rated into  Semitones,  &c.  by  the  character  called  a 
Direct. 


h X -L         ___©--. 


-e-#^ 


"O     "37^ 


The  other  Tones  introduced  by  transposition,  are, 

~Z~f  farr-e- 

ia:±:__zz:q  &c. 


zzz — :fe§zi?zi:f®z 


158.  IV.  The  Minor  Third  is  composed  of  three 
Degrees,  and  contains  a  Tone  and  a  Diatonic  Semi- 
tone between  the  two  extremes  ;  thus, 

Pr-:3^iDZ±r©r^:i:J:?:=::z:I:z:z:zz3 

It  is  also  divisible  into  three  Semitones,  two  Dia- 
tonic and  one  Chromatic  ;  thus, 


—  ©- 


.\V 


"aaV    *©" 


IQI^f  ~  ^i^z^n 


159.  V.  The  Major  Third*  is  composed  of  three 
Degrees,  and  contains  two  Tones  between  the  ex- 
tremes ;  thus, 

*  The  Major  and  Minor  Thirds  were  formerly  called  Sharp  and 
F/at-Thirds.  These  equivocal  terms  were  justly  rejected  by  Dr. 
Boyce  (in  his  Cathedral  Music,)  and  changed  to  greater  and  lesser. 


70  MUSICAL  GRAMMAR. 


--+-«-- m*-3- 


:e"-  ^*©""  -    *•  — * 


It  is  also  divisible  into  four  Semitones,  two  Diatonic 
and  two  Chromatic  ;  thus, 


•e-#M* 


w  TF  jiac 


160.  VI.  The  Perfect  Fourth  is  composed  of  four 
Degrees,  and  contains  two  Tones  and  a  Semitone  be- 
tween the  extremes ;  thus, 

It  is  also  divisible  into  five  Semitones,  three  Dia- 
tonic and  two  Chromatic  ;  thus, 


ft- 35 MA-W 

^g)__Q_.g.AV!l  -ifflC W  W J 

161.  VII.  The  Sharp*  Fourth  is  composed  of  four 
Degrees,  and  contains  three  Tones  between  the  ex- 
tremes, called  by  the  Ancient3,  on  that  account,  Tri- 
tone. 


[—a—^:z^~z] 


It  is  also  divisible  into  six  Semitones,  three  Diatonic 
and  three  Chromatic  ;  thus, 


*  The  reason  why  the  terms,  Perfect  and  Sharp,  are  used  to  the 
Fourths,  while  Major  and  Minor  are  applied  to  the  Seconds  and 
Thirds,  will  appear  in  the  next  Chapter,  upon  Concords  and  Discords. 


MELODY.  71 

162.  These  seven  Intervals  (the  Unison  included,) 
may  be  considered,  in  a  practical  point  of  view,  as  pri- 
mary;  since,  if  they  are  rightly  understood,  all  the  re- 
maining seven  are  easily  known,  being  only  com- 
pounded of  these.  Thus,  the  Fifth  is  formed  by  uniting 
two  of  the  Thirds  ;  the  Sixth,  by  the  Fourth  and  Third ; 
the  Seventh,  by  the  Fifth  and  Third ;  and  the  Octave 
by  the  Fourth  and  Fifth.  Compared  with  the  Unison, 
Second,  Third,  and  Fourth,  as  primary;  the  Fifth, 
Sixth,  Seventh,  and  Eighth,  are  secondary.  This  ar- 
rangement, however  useful  in  the  analysis  of  Melody, 
is  imperfect  with  respect  to  Harmony,  and  the  theoreti- 
cal classification  of  the  Diatonic  Intervals.  The  true 
series  comprehends  the  Unison,  Octave,  Fifth,  Fourth, 
Thirds,  Sixths,  Seconds,  and  Sevenths,  in  the  mathe- 
matical division  of  a  musical  string. 

163.  VIII.  The  Flat  Fifth  is  composed  of  five  De- 
grees, and  contains  two  Tones  and  two  Semitones, 
(not  three  Tones :)  it  may  be  divided  into  two  Minor 
Thirds. 


EiEE^±?igEiEE== 


It  is  also  (like  the  Sharp  Fourth  or  Tri-tone)  divisi- 
ble into  six  Semitones  ;  and  when  joined  with  that  In- 
terval, completes  the  Octave. 

164.  IX.  The  Perfect  Fifth  is  composed  of  five 
Degrees,  and  contains  three  Tones  and  one  Semitone  ; 
it  may  be  divided  into  a  Major  and  a  Minor  Third. 

^-©-  *#    T  -©-    ^ 

It  is  also  divisible  into  seven  Semitones  ;  and,  when 
joined  with  the  Fourth,  completes  the  Octave. 

165.  X.  The  Minor  Sixth  is  composed  of  six  De- 
grees, and  contains  three  Tones  and  two  Semitones  ; 
it  may  be  divided  into  a  Minor  Third  and  a  Fourth. 


72  MUSICAL  GRAMMAR. 

It  is  also  divisible  into  eight  Semitones  ;  and,  when 
joined  with  the  Major  Third,  completes  the  Octave. 

166.  XI.  The  Major  Sixth  is  composed  of  six  De- 
grees, and  contains  four  Tones  and  one  Semitone :  it 
may  be  divided  into  a  Major  Third  and  a  Fourth. 


-e- 

It  is  also  divisible  into  nine  Semitones  ;  and,  when 
joined  with  the  Minor  Third,  completes  the  Octave. 

167.  XII.  The  Minor  Seventh*  is  composed  of 
seven  Degrees,  and  contains  four  Tones  and  two 
Semitones  ;  it  may  be  divided  into  a  Fifth  and  a  Minor 
Third. 

It  is  also  divisible  into  ten  Semitones ;  and,  when 
joined  with  the  Major  second,  or  Tone,  completes  the 
Octave. 

168.  XIII.  The  Major  Seventh  is  composed  of 
seven  Degrees,  and  contains  five  Tones  and  one  Semi- 
tone ;  and  may  be  divided  into  a  Fifth  and  a  Major 
Third. 


I 


::^:§: 


e- 

and,  when 


It  is  also  divisible  into  eleven  Semitones 
joined  with  the  Minor  Second,  or  Semitone,  completes 
the  Octave. 

169.  XIV.  The  Octave  is  composed  of  eight  De- 
grees, and  contains  five  Tones  and  two  Semitones  :  it 
may  be  divided  into  a  Fifth  and  a  Fourth. 


-e-   **-  -©- 

*  This  Interval  is  also  composed  of  two  perfect  Fourths. 


MELODY.  73 

It  is  also  divisible  into  twelve  Semitones,  and  may  be 
considered  as  the  replicate  of  the  Unison. 

As  the  Octave  consists  of  thirteen  sounds,  and  there- 
fore has  only  twelve  Intervals,  it  must  be  recollected, 
that  the  fourteen  Diatonic  Intervals,  just  described,  are 
obtained  by  reckoning  the  Unison  as  one  of  them,  and 
by  distinguishing-  between  the  Sharp  Fourth  and  Flat 
Fifth  ;  both  which  are,  upon  Keyed  Instruments,  per- 
formed with  the  same  keys.  The  seven  Notes  of  the 
Scale  form  seven  different  species  of  Octave,  accord- 
ing to  the  places  of  the  two  Natural  Semitones  ;  and 
from  these  species,  divided  each  into  two  parts,  by  the 
Fifth  or  by  the  Fourth,  arise  the  eight  Tones  of  Italy, 
and  the  twelve  Modes  of  Germanv.* 


Sect.  IV. — Inversion  of  I>~terva;ls. 

170.  When  the  lower  Note  of  any  Interval  is  placed 
an  Octave  higher,  or  the  higher  Note  an  Octave  low- 
er, the  change  thereby  produced  is  called  Inversion. 

Thus  a  Second becomes  a  Seventh 

~=ziz  z©zzz 


— ai  zazzz 


a  Third a  Sixth 

z ©— 

a  Fourth a  Fifth 

Z_ZZ®Z  Z§IZZ 

171.  The  different  Intervals  (seven,)  reckoned  from 
each  of  the  seven  Natural  Notes,  form  the  following 
Series  : 

Five  Major  and  two  Minor  Seconds. 

Three  Major  and  four  Minor  Thirds. 

Six  perfect  and  one  Sharp  Fourth. 
To  these  may  be  added  their  Inversions  : 

*  See  the  Note,  of  Art.  49,  of  this  Work. 
7* 


74  MUSICAL  GRAMMAR. 

Two  Major  andjwe  Minor  Sevenths. 
Four  Major  and  three  Minor  Sixths. 
Six  Perfect  and  one  Flat  Fifth. 

172.  All  the  Major*  Intervals  become  Minor,  by 
inversion,  and  all  the  Minor  Intervals  become  Major ; 
the  Sharp  Fourth  becomes  the  Flat  Fifth,  and  the 
Unison  inverted  becomes  the  Octave. 

173.  The  Major  Seventh  of  the  Key,  from  its  re- 
semblance to  the  Tritone  (its  higher  Note  being  one 
of  the  two  Sounds  which  form  the  Sharp  Fourth,)  is 
sometimes  called  the  Sharp  Seventh. 

174.  Rameau  terms  the  Intervals  of  the  Third, 
Fifth,  and  Seventh,  fundamental ;  and  derives  the  oth- 
ers, viz.  the  Second,  Fourth,  and  Sixth,  by  inversion, 
reckoning  them  downward,  from  the  Octave  of  the 
former,  according  to  the  following  Scheme  : 

{Seventh  ! 


Fifth  | 

Third"] 
A  B  C       D     E  F  G 

|  Second 

|  Fourth 
|  Sixth 


175.  All  these  Intervals  are  found  in  the  Diatonic 
or  Natural  Scale  ;  and,  when  this  Scale  is  transposed 
to  any  other  pitch,  higher  or  lower,  by  the  use  of  Sharps 
or  Flats,  these  Intervals  remain  the  same,  as  will  be 
more  fully  seen  hereafter.  The  remaining  Intervals, 
which  are  commonly  intermixed  with  these  in  the  gen- 
eral tables  given  by  Authors,  and  which  belong  only  to 
the  Chromatic  and  Enharmonic  Scales,  are  omittted 
here,  but  will  be  inserted  in  the  third  Chapter  of  this 
Part,  on  the  Genera. 

176.  Of  all  the  Diatonic  Intervals,  the  two  Thirds,^ 

*  The  epithets,  Sharp  and  Flat,  were  always  used,  instead  of  Ma- 
jor and  Minor,  by  the  old  writers,  Simpson,  Playford,  and  also  Pe- 
pusch.    See  Art.  159. 

t  See  Rameau,  and  Simpson.  It  may  be  observed,  that  the  altera- 
tion of  the  Thirds,  by  sharpening  the  upper  Note  of  the  Minor,  or  flat- 
tening that  of  the  Major,  does  not  change  their  Diatonic  nature. 


MELODY.  75 

Major  and  Minor,  are  by  far  the  most  important,  and 
ought  to  be  very  perfe'ctly  understood ;  since  upon 
them  depends  the  nature  of  the  Scale  or  Mode  ;  and 
the  Thirds  give  their  own  epithets  to  the  whole  series 
of  the  seven  Notes,  the  Scale  itself  being  called  Major, 
when  the  Third  is  greater,  and  Minor  when  the  Third 
is  lesser. 

177.  There  is  another  distinction,  in  respect  of 
Melodies  formed  of  Diatonic  Intervals,  which,  although 
in  some  measure  obsolete,  is  yet  useful  for  the  Student 
to  understand.  Those  Melod'ies  which  have  their  prin- 
cipal Notes  contained  between  the  Key-note  and  its 
Octave,  are  termed  authentic,  direct,  or  principal,  as  in 
the  following  Example  : 


(Waft  Tier,  Angels.) 

;z=S=cz:?r:-=:sr:fcr5: 

1 —. — S 


::czz; 


178.  Those  Melodies,  on  the  contrary,  which  have 
their  principal  Notes  contained  between  the  Fifth  of 
the  Key  and  its  Octave  (or  twelfth,;  are  termed  plagal, 
oblique,  or  collateral,  as  in  the  following  Example; 

(Streams  of  pleasure.) 

By  these  two  divisions  of  the  Octave,  authentic  and 
plagal,  are  formed  the  arrangements  of  the  eight  Italian 
Tones,  and  Twelve  German  modes  before  mentioned. 


76  MUSICAL  GRAMMAR. 

CHAP.  II. 

OF  CONSONANT  AND  DISSONANT  INTERVALS. 

Art.  179.  Although  the  terms  Consonant  and  Disso- 
nant are  chiefly  used  in  Harmony,  yet  they  are  appli- 
cable, in  a  great  measure,  to  the  classing  of  Intervals 
in  Melody. 

380.  The  Diatonic  Intervals  are  therefore  divided 
into  Consonant  and  Dissonant.  Those  which  are  most 
agreeable  to  the  ear,  as,  the  Octave,  Fifth,  Fourth, 
both  the  Thirds,  and  both  the  Sixths,  are  called  Con- 
sonant; those  which,  when  compared  with  the  others, 
are  less  agreeable  to  the  ear,  as  both  the  Seconds,  both 
the  Seventh,  with  the  Sharp  Fourths,  are  called  Disso- 
nant. 

The  term  Dissonant  is  thought,  by  some  Authors,* 
inapplicable  to  the  Degrees  of  Melody  which  seem 
more  natural  to  the  human  voice  than  the  Skips.  This, 
however,  is  a  prejudice,  which  a  further  consideration 
of  Harmony  will  remove. 

181.  The  foregoing  arrangement  shows  the  pro- 
priety of  distinguishing  the  species  of  Seconds,  Thirds, 
Sixths,  and  Sevenths,  by  the  epithets  Major  and  Minor, 
according  to  the  number  of  Semitones  included  be- 
tween the  extremes  ;  while  the  appellation  of  Perfect 
is  reserved  for  the  Fourth  and  Fifth,  with  the  terms 
Sharp  and  Flat,  when  altered  a  Semitone  higher  or 
lower. 

182.  The  Thirds  and  Sixths,  whether  Major  or 
Minor,  are  always  consonant ;  the  Seconds  and  Sev- 
enths always  dissonant ;  but  the  Fourth  and  Fifth  are 
consonant  only  when  perfect ;  when  sharp  or  flat,  they 
are  dissonant.  The  alteration  of  these  two  last  Inter- 
vals, therefore,  places  them  in  different  classes ;  and, 
although  the  terms  Major  and  Minor  have  sometimes 
been  applied  to  the  Fourth  and  Fifth,  in  the  present 
Work  those  terms  will  not  be  used. 

*  Principes  Elementaires  de  Musique,  du  Conservatoire. 


MELODY.  77 

183.  The  Consonant  Intervals  are  subdivided  into 
perfect  and  imperfect.  The  Unison  (or  Prime.)  the 
Octave,  Fifth,  and  Fourth,  are  called  perfect,  because 
they  are  immutable,  never  changing  from  Major  to 
Minor,  (or  on  the  contrary,)  but  becoming  dissonant 
whenever  altered  by  a  Sharp,  Flat,  or  Natural. 

184.  The  Thirds  and  Sixths  are  called  imperfect, 
because  they  are  liable  to  change  from  Major  to  Minor 
(or  the  contrary,)  still  remaining  consonant. 

185.  The  Seconds,  Sevenths,  Sharp  Fourth,  Flat 
Fifth,  with  all  the  Chromatic  and  Enharmonic  Inter- 
vals, are  dissonant. 

186.  According  to  this  classification,  every  passage 
of  Melody  which  moves  by  Degrees,  consists  of  disso- 
nant Intervals  ;  but,  as  every  other  Note  is,  in  general, 
a  transient  sound,  placed  between  two  consonant 
Notes,  these  Seconds  have  not  that  harshness  which  is 
found  in  the  passages  which  move  by  Skips,  as  the 
Sharp  Fourth,  Flat  Fifth,  Minor  and  Major  Sevenths, 
&c. 

187.  All  dissonant  Seconds  in  Melody,  are  either 
passing  or  changing  Notes  (Art.  106;)  and  these  are 
either  regular,  when  found  on  the  weak  parts  of  the 
Measure,  or  irregular,  when  used  on  the  strong  parts. 
If,  therefore,  these  ornamental  Notes  are  taken  away, 
a  series  of  consonant  Intervals  will  remain. 

(Thou  didst  blow.) 


±h 


The  foregoing  Melody  may  be  reduced  to  Conso- 
nant Intervals,  by  taking  away  the  alternate  Semi- 
quavers, where  regular,  and  omitting  two  when  irregu- 
lar ;  it  will  then  appear  thus  : 


78 


MUSICAL  GRAMMAR. 


188.  The  concordant  series  of  Thirds  and  Sixths, 
from  the  varied  succession  of  Major  and  Minor  Inter- 
vals, is  extremely  pleasing  to  the  ear ;  and  most  pas- 
sages of  Degrees  (like  that  of  the  preceding  Example,) 
are  reducible  into  Thirds,  intermixed  with  Fourths,  by 
taking  away  the  passing  and  changing  Notes. 

189.  A  great  part  of  every  Duet  is  composed  of 
Thirds  or  Sixths;  and  these  Intervals,  with  the  oc- 
casional introduction  of  Fourths  and  Fifths,  allow  a 
double  Melody  to  continue  throughout  a  Movement. 

190.  A  successive  series  of  perfect  Fifths  is  not  to 
be  found  in  Melody,  and  hence  is  forbidden  in  Harmo- 
ny. In  Melody,  they  would  exceed  the  limits  of  our 
regular  Scale,  as  well  as  the  compass  of  the  voice ; 
and,  in  Harmony,  they  would  produce  new  and  uncon- 
nected Scales,  of  which  the  species,  Major  or  Minor, 
would  be  undetermined,  through  the  omission  of  the 
Thirds  and  Sixths. 

191.  A  more  correct  idea  of  passing  Notes  may  be 
obtained,  by  considering  the  scale  as  divided  into 
three  parts,  the  two  first  concordant,  and  the  last  dis- 
cordant; thus, 


In  the  first  part,  or  the  Tonic  Division,  the  passing 
Notes  are,  the  2d,  4th,  6th,  and  7th  of  the  Scale  ;  thus, 


iiEg===; 


In  the  second  part,  or  the  Subdominant  Division,  the 
passing  Notes  are  the  2d,  3d,  5th,  and  7th ;  thus, 


MELODY.  79 


In  the  third  part,  or  the  Dominant  Division,  the  3d 
and  6th  are  the  only  passing  Notes  ;  thus, 


CHAP.  III. 
OF  THE  GEJVERA. 

Sect.  I. — Of  the  three  kinds  of  melody. 

Art.  192.  That  Scale  of  Music  which  proceeds 
chiefly  by  Tones  called  Diatonic,  has  been  explained 
(Art.  152,)  and  constitutes  the  principal  part  of  every 
piece  of  Music. 

393.  When  all  the  artificial  Sounds  are  inserted 
between  the  natural  Sounds,  a  Scale  is  formed  of  Semi- 
tones alone,  and  called  Chromatic. 

194.  When  a  Scale  yet  smaller  in  its  Intervals  is 
formed,  which  contains  in  some  places  Quarter-Tones, 
it  is  called  Enharmonic. 

195.  These  three  Scales,  the  Diatonic,  the  Chro- 
matic, and  the  Enharmonic,  form  the  three  Genera  or 
kinds  of  Melody  now  in  use  ;  and,  although  the  terms 
are  borrowed  from  the  Greek  authors,  yet  the  modern 
ideas  annexed  to  them  are  considerably  different  from 
their  ancient  signification. 

196.  The  origin  of  the  term  Diatonic  Genus  has 
been  explained.  The  Chromatic  takes  its  name  from 
the  Greek  word  Chroma,  color,  because  the  interspers- 
ed Semitones  give  an  ornamental  effect  to  the  Dia- 


80 


MUSICAL  GRAMMAR. 


tonic  or  simple  Melody  ;  and  the  Enharmonic  was  so 
called,  from  its  supposed  excellence,  being  En-har- 
monic, that  is,  extremely  musical. 

197.  The  two  last'Genera  (Chromatic  and  Enhar- 
monic) are  never  used  alone,  but  always  intermixed 
with  the  Diatonic.  Hence  it  has  been  asserted,  that 
all  the  Genera,  except  the  Diatonic,  are  irretrievably 
lost.  That  they  are  lost  to  us,  in  the  precise  sense  of 
the  ancient  descriptions,  is  undoubtedly  true  ;  but  we 
still  retain  the  term  Chromatic,  in  a  signification  ex- 
tremely analogous  to  its  primitive  meaning,  and  it 
seems  proper  also  to  retain  the  terms  Diatonic  and 
Enharmonic. 

198.  The  French  Theorists*  mention  two  other 
compound  Genera,  the  Diatonic-enharmonic,  and  the 
Chromatic- enharmonic  ;  the  first  containing  a  succes- 
sion of  two  Diatonic  Semitones,  and  the  last  a  succes- 
sion of  two  Chromatic  Semitones.  These  terms  and 
classifications  are  more  curious  than  useful,  since,  ac- 
cording to  Dr.  Pepusch,  the  Diatonic-enharmonic  is 
the  same  as  the  Tonioeum  Chromatic  of  the  ancients  ; 
and  the  two  subsequent  Minor  Semitones  are  found  in 
the  soft  Chromatic  of  the  Grecian  system.f 


Sect.  II. — Or  the  Chromatic  Scale  and  its  In- 
tervals. 

199.  The  Chromatic  Scale  generally  ascends  by 
Sharps,  and  descends  by  Flats,  as  in  the  following 
Example : 


iiiiiilliir- 


*  M.  D'Alembert,  Elemens  de  Musique,  1762,  Part  T.  Chap.  xx. 
xxi.  p.  112.     M.  Bethizy,  Exposition,  &c.  1764. 

f  See  Dr.  Pepusch's  Letter  to  De  Moivre,  in  the  Philosophical 
Transactions,  1746,  No.  481. 


MELODY.  81 

200.  From  this  Scale  several  Intervals,  not  yet  de- 
scribed, arise,  which  are  all  discordant,  and  are  chiefly 
used  in  Melody,  although  they  appear  sometimes,  by 
license,  in  harmonical  combinations. 

201.  The  Chromatic  Scale  consists  of  thirteen 
Sounds,  which  contain  twelve  Intervals  between  them. 
Seven  of  these  have  been  already  described,  among 
the  Diatonic  Intervals  ;*  the  remaining  five  form  an- 
other species  of  Intervals,  called  Extreme  or  Chromatic. 
Of  these,  the  Chromatic  Semitone,  the  extreme  sharp 
Second,  flat  Third,  and  flat  Fourth,  are  simple  or 
primitive;  the  extreme  sharp  Fifth,  sharp  Sixth,  flat 
Seventh,  and  flat  Eighth,  are  compound  or  derivative. 

Chromatic  Semitone.  Extreme  Sharp  Fifth. 


~d~sq: 


-e- 


Extreme  Sharp  Second.  Extreme  Sharp  Sixth. 

EzaEEflE  EEpEEEE: 

Extreme  Flat  Third.  Extreme  Flat  Seventh. 

Extreme  Flat  Fourth.  Extreme  Flat  Eighth. 


EiE*E= 


~sc— zr:~ 


202.     I.     The  Chromatic  Stmitone  is  the  distance  or 
interval  between  any  Note,  and  that  same  Note  ele- 
vated by  a  Sharp,  or  depressed  by  a  Flat. 
Example  of  the  Chromatic  Semitone  ascending: 

*  Padre  Martini  (Sagsio  di  Contrappunto.  1774.;  lias  enumerated 
another  Interval,  the  extreme  sharp  Third,  with  its  inversion;  this 
will  be  noticed  hereafter. 


82  MUSICAL  GRAMMAR. 

(Sweet  bird  that  shunrCst.) 


Example  of  the  Chromatic  Semitone  descending: 
(Turn  not,  O  Queen.) 

203.  This  Semitone  was  termed  by  the  Pythago- 
reans, Apotome^  and  the  Diatonic  Semitone  was  term- 
ed Limma.  They  contended,  that  the  Apotome,  or 
distance  from  B  flat  to  B  natural,  was  larger  than  the 
Limma,  or  distance  from  A  to  B  flat.  It  is  now,  how- 
ever, demonstrated,  by  the  experiments  of  Mersenne, 
&c.  &c.  that  the  theory  of  Zarlino  and  Salinas  is  true  ; 
namely,  that  the  Interval  from  A  to  B  flat,  is  the  Major 
Semitone,  and  that  from  B  flat  to  B  natural,  is  the  Mi- 
nor Semitone,  contrary  to  the  Nomenclature  of  Boethius 
and  the  Pythagoreans. 

204.  In  the  Chromatic  Scale,  the  Semitones  are  al- 
ternately Chromatic  and  Diatonic  ;  and,  as  there  are 
only  five  of  the  former,  while  there  are  seven  of  the 
latter,  two  Diatonic  Semitones  will  be  found  in  succes- 
sion, at  the  place  where  the  natural  Semitone  occurs. 

Ascending.  Descending. 


205.  From  this  important  Interval  (the  Chromatic 
Semitone)  arise  all  the  other  Chromatic  Intervals : 
they  are  all  Diatonic  Distances,  increased  or  diminish- 
ed by  this  Interval ;  and  hence  they  all  take  the  addi- 
tional Chromatic  Epithet  of  Extreme. 

*  Sir  J.  H.  i.  73.  The  term  Apotome  was  also  used  by  Salomon 
de  Caus  (Institution  Harmonique,  1614,)  and  thence  inserted  by 
D'Alembert  and  Rousseau  in  the  French  Encyclopaedia.  He  terms 
the  present  Enharmonic  Diesis  Apotome  Major,  and  thepiesent  Minor 
Comma,  Apotome  Minor. 


MELODY. 


83 


206.  II.  The  extreme  sharp  Second  consists  of  a 
Tone  and  a  Chromatic  Semitone,  being  composed  of 
two  Degrees.  Upon  Keyed  Instruments,  this  is  the 
same  as  the  Minor  Third";  which,  however,  consists  of 
a  Tone  and  a  Diatonic  Semitone,  and  therefore  con- 
tains three  Degrees. 

(To  vanity  and  earthly  pride.) 


yiplI?ElliiS 


207.  III.  The  extreme  fat  Third  consists  of  two 
Diatonic  Semitones,  being  composed  of  three  Degrees: 
and  is  the  Minor  Third,  diminished  by  the  Chromatic 
Semitone.  Upon  Keyed  Instruments,  this  is  the  same 
as  the  Tone  which  contains  only  two  Degrees. 

This  Interval  being  very  harsh  for  Vocal  Music,  the 
intermediate  Sound  is  generally  inserted,  as  in  the  fol- 
lowing Example  : 

(Prophetic  raptures.) 


*4 


In  this  passage  the  A,  between  B  flat  and  G  sharp, 
is  only  a  transient  or  passing  Note. 

208.  IV.  The  extreme  fiat  Fourth  consists  of  a 
Tone  and  two  Diatonic  Semitones,  being  composed  of 
four  Degrees ;  and  is  the  perfect  Fourth,  diminished 
by  the  Chromatic  Semitone.  Upon  Keyed  Instru- 
ments, this  is  the  same  as  the  Major  Third,  which  con- 
tains only  three  Degrees. 

(O  mirror  of  our  fickle  state.) 

liliiiSiiili 


The  E  natural  here,  is  taken  instead  of  E  flat 


84  MUSICAL  GRAMMAR. 

209.  These  three  last  Intervals,  viz. 
The  extreme  sharp  Second, 

The  extreme  flat  Third,  and 
The  extreme  flat  Fourth, 
When  inverted,  becomes  the  following: 
The  extreme  flat  Seventh, 
The  extreme  sharp  Sixth, 
The  extreme  sharp  Fifth. 

21 0.  V.  The  extreme  sharp  Fifth  is  the  perfect 
Fifth,  increased  by  the  Chromatic  Semitone,  and  con- 
sists of  four  Tones,*  formingywe  Degrees.  On  Keyed 
Instruments  it  is  the  same  as  the  Minor  Sixth,  which 
consists  of  six  Degrees.  This  Interval  is  seldom  found 
in  Melody  ;  but  its  inversion,  the  extreme  flat  Fourth, 
is  generally  taken  in  its  place. 

It  is  also  divisible  into  two  Major  Thirds. 


:-ri^-'*Q-}: — ---#e_r._:feQ:q 


.  w 


211.  VI.  The  extreme  sharp  Sixth  is  the  Major 
Sixth,  increased  by  the  Chromatic  Semitone,  and  con- 
sists of  five  Tones,f  forming  six  degrees.  On  Keyed 
Instruments  it  is  the  Minor  Seventh,  which  consists  of 
seven  Degrees. 

It  is  also  divisible  into  a  Major  Third  and  sharp 
Fourth.} 

prQE?:?^==^rE±Q^EEi:Q:EE:l 

212.  VII.  The  extreme  flat  Seventh  is  the  Minor 
Seventh,  diminished  by  the  Chromatic  Semitone,  and 
consists  of  four  Tones  and  two  Diatonic  Semitones, 
forming  seven  Degrees.  On  Keyed  Instruments  it  is 
the  Major  Sixth,  which  only  consists  of  six  Degrees* 

It  is  also  divisible  into  three  Minor  thirds. 


*  Called  also  Tetratonon. 

t  Called  also  Pentatoaon.  X  Shield. 


MELODY. 


85 


---^  -XL 

:zsnz^z:^z:zzizz 


::^  iaziinzmfcD:::: 


^  nazi2-"z:sa:». 
zzzzzfr  iaz:zz:-i 


Examples  of  this  Interval  in  Melody  are  not  uncom- 
mon. 

(They  loathed  to  drink.) 

piiilisiiiii 

(And  with  his  stripes.) 

213.  VIII.  The  extreme  flat  Eighth  is  the  Octave, 
diminished  by  the  Chromatic  Semitone  ;  it  is  never 
used  in  Melody,  but  is  sometimes  found  in  transient 
passages  of  Harmony. 

:' ^_ ta 


-e 


zfecq 


Sect.  III. — Of   the  -Enharmonic    Scale   and  its 
Interval,  the  Quarter-tone. 

214.  When  a  series  is  formed  by  uniting  the  as- 
cending with  the  descending  Scale  of  the  Chromatic 
Genus,°a  new  kind  of  Music  arises,  by  the  use  of  the 
Interval  formed  between  the  sharpened  Note  and  the 
Flat  of  the  next  succeeding  Note  above.  This  Scale 
is  called  Enharmonic,  and  contains  Intervals  smaller 
than  the  Semitone ;  which,  although  not  exactly  half 
8* 


86  MUSICAL  GRAMMAR. 

the  Semitone,  are,  however,  from  their  near  approach 
to  that  quantity,  called  the  Diesis*  that  is,  the  Divi- 
sion,) or  Quarter-tone. 

215.  To  form  this  Interval,  it  is  necessary  that,  of 
any  two  Notes  which  are  distant  by  the  Tone,  the 
highest  should  be  depressed,  and  the  lowest  elevated, 
by  the  Chromatic  Semitone.  Thus,  from  G  to  A  is  a 
Tone.  Now,  if  G  sharp  be  taken  instead  ofG,  and  A 
flat  instead  of  A,  the  difference  between  these  ex- 
tremes of  the  two  Chromatic  Semitones,  G  sharp  and 
A  flat,  will  form  the  Enharmonic  Diesis,  or  Quarter-tone. 

216.  To  understand  this,  it  must  be  observed,  that 
the  Interval  of  a  Tone,  in  the  theory  of  Harmonics,  is 
not  always  the  same.  That  Tone  which  is  between 
the  Fourth  and  Fifth  of  the  Scale,f  is  supposed  to  be 
divided  into  nine  small  parts,  termed  Commas;  while 
that  which  is  between  the  Fifth  and  Sixth  of  the  Major 
Scale,  is  divided  only  into  eight  Commas.  The  Dia- 
tonic Semitone  consists  of  five  Commas,  and  the  Chro- 
matic Semitone  of  three,  or  four,  according  to  the  mag- 
nitude of  the  Tone. 

217.  The  two  Chromatic  Semitones,  therefore,  being 
taken  from  the  Minor  Tone  (of  eight  (  ommas,)  leave 
a  residue  of  two  Commas  for  the  Diesis  or  Quarter- 
tone  :  hence  on  the  Temple  Organ,  and  on  some  other 
Instruments,  the  Tones  from  G  to  A,  and  from  D  to  E 
(which  are  naturally  Minor,  or  of  eight  Commas,)  are 
divided  into  three  parts,  by  two  distinct  Keys,  one  for 
G  sharp,  another  for  A  flat ;  also  one  for  D  sharp,  and 
another  for  E  flat.  But  upon  Keyed  Instruments,  in 
general,  the  Temperament,  or  method  of  tuning,  is 
such,  that  the  single  short  key  between  the  two  longer 
keys  serves  for  both  purposes,  that  between  G  and  A 
being  tuned  higher  than  G  sharp,  and  lower  than  A  flat. 

218.  The  Enharmonic  Scale  divides  each  Tone  in- 
to two  Chromatic  Semitones  and  the  Quarter-tone  ; 
thus, 


»    3F* 


=-^^=zi=|^|:teis 


*  This  was  also  called  Jlpotome  Major  by  Salomon  de  Caus.  See 
before,  Art.  203,  of  this  Work.  Sir  J.  H.  i.  110;  iii.  142,  155.  Dr 
B.  i.  29 ;  iii.  530. 

t  The  Diazeuctic  Tone  of  the  ancient  system. 


MELODY. 


87 


219.  In  some  examples  of  the  Enharmonic  Scale,* 
the  Intervals,  F  flat  and  £  sharp,  as  also  C  flat  and  B 
sharp,  are  inserted ;  but  they  do  not  belong  to  that 
Scale.  This  distance,  as  Dr.  Pepusch  observes,  is 
smaller  than  the  Quarter-tone. 


This  arises  from  the  division  of  the  Diatonic  Semi- 
tone into  two  Quarter-tones,  and  a  smaller  Interval, 
termed  the  Hyperoche,j  which  is  found  by  theoretical 
calculation  to  be  nearly  a  Comma  and  a  half. 

220.  Such  are  the  three  modern  Genera,  the  Dia- 
tonic, Chromatic,  and  Enharmonic :  they  are  (as  before 
observed,  Art.  195,)  derived  from  the  ancient  Grecian 
Scales,  but  are  used  in  a  manner  extremely  different. 

Dr.  Pepusch,|  *n  defining  the  six  Genera  of  Aristox- 
enus,  namely,  two  Diatonics,  three  Chromatics,  and 
one  Enharmonic,  observes,  that  the  Syntoiie  or  intense 
Diatonic,  is  in  general  use  ;  that  enharmonic  passages 
are  sometimes  found  ;  and  that  two  of  the  Chromatics 
might  be  brought  into  practice  ;  for  instance, 

The  Sesquialter  Chromatic  ;  thus, 


And  the  Tonioeum  Chromatic  :  thu: 


"9"  "~~Tt — I  ~~~1  ~T'~ — -'TrT  bc~  I — n — 

_7_-        ~  "'  "'  ' 

*  Shield. 

t  This  terra  was  first  adopted  by  M.  Henflingin  the  Berlin  Mis- 
cellanies, 1708  For  a  more  paiticular  account  of  the  small  Intervals 
in  Music,  see  the  articles  Eschaton,  Hijperoche,  and  Interval,  which 
first  appeared  in  the  Supplement  to  Chambers'  Cyclopaedia,  1753, 
probably  written  by  George  Lewis  Scott.  Esq.  the  editor,  and  which 
were  inserted  afterwards  in  the  edition  published  by  Dr.  Rees,  in 
four  folio  volumes.  17S8.  17>9. 

X  Sir  J.  H.  i.  If  9.  Dr.  B.  iv.  638.  In  the  Dictionary  of  Chambers 
Qust  quoted,)  at  the  article  Genera,  an  able  analysis  of  Dr.  Pepusch's 
ideas  is  given,  probably  written  by  the  same  Author,  as  it  also  first 
appeared  in  the  Supplement. 


88  MUSICAL  GRAMMAR. 

But,  he  adds,  that  the  soft  Diatonic,  and  the  soft 
Chromatic,  are  not  to  be  found  in  any  modern  produc- 
tion. 


CHAP.  IV. 

OF  KEYS    OR   SCALES,   AJYD    OF    THEIR 
TWO  MODES,  MAJOR  AJYD  M1JYOR. 

\    Sect.  I. — Of  Keys  or  Scales. 

Art.  221.  A  Diatonic  Scale,  of  which  the  Notes 
bear  certain  relations  to  one  principal  Note  from  which 
they  are  all,  in  some  respects,  derived,  and  upon  which 
they  all  depend,  is  termed  a  Key ;  and  the  principal 
Note  is  called  the  Key  Note,  or  Tonic. 

222.  Every  Scale  in  which  the  two  Diatonic  Semi- 
tones are  found  between  the  third  and  fourth  Degrees, 
and  between  the  seventh  and  eighth  Degrees,  ascend- 
ing from  the  Tonic,  is  termed  the  Major  Mode  of  that 
Key  :  because  the  Interval  between  the  Tonic  and  its 
Third  (or  Mediant,)  consists  of  two  Tones  ;  that  is,  of 
the  greater  Third.  The  only  series  of  this  mode  among 
the  natural  Notes,  is  that  which  commences  with  C ; 
and  hence  this  Key  must  be  taken  as  an  example  of  all 
the  Major  Scales. 


223.  Every  Scale  in  which  the  two  Diatonic  Semi- 
tones are  found  between  the  second  and  third  Degrees, 
and  between  the  fifth  and  sixth  Degrees,  as  ascending 
from  the  Tonic,  is  termed  the  Minor  Mode  of  that  Key ; 
because  the  Interval  between  the  Tonic  and  its  Third 
(or  Mediant,)  consists  only  of  one  Tone  and  one  Semi- 


MELODY. 


89 


tone,  that  is,  of  the  lesser  Third.  The  only  series  of 
this  mode  among  the  Natural  Notes,  is  that  which 
commences  with  A  ;  and  hence  this  Key  may  be  taken 
as  an  example  of  all  the  Minor  Scales.* 


Sect.  II. — Of  the  Major  Scales  with  Sharps. 

224.  In  the  First  Part  of  this  Work  (Art.  89,)  it  has 
been  shown  how  the  introduction  of  Sharps  changes 
the  pitch  of  the  Tone,  without  altering  the  relative  In- 
tervals of  the  Scale.  All  the  other  Major  Keys  with 
Sharps  are  constructed  in  the  same  manner,  viz.  by 
sharpening  the  Fourth  of  the  former  Key,  to  make  a 
new  sharp  Seventh,  or  leading  Note,  to  the  following 
Scale  ;  thus, 


G,  one  Sharp. 


D,  two  Sharps. 


Pri^.t:E:E:E=EE:i:g:3s**:?:--:-:3 


A,  three  Sharps. 


E,  four  Sharps. 


mmmm 


five  Sharps. 


:m-#p 


F  sharp,  six  Sharps. 


EEErEEtEErS????z;FiEEEE3 


*  The  necessary  variation  of  the  ascending  Scale,  in  the  Minor 
Mode,  from  the  descending  Scale,  will  be  explained  hereafter.  Mal- 
colm, p.  265.  Pepusch,  p^-20.  Holden  (Part  I.  Chap.  ix.  p.  i.;  art. 
237,  p.  90.  Sir  J.  H.  i.  163,  lias  entered  minutely  into  the  suliject  of 
our  two  modern  Scales,  with  their  Transpositions  ;  and  their  exten- 
sions to  three  Flats  and  four  Sharps,  are  noticed  also  by  him,  iii.  144. 


90 


MUSICAL  GRAMMAR. 


225.  In  this  last  Scale,  the  sixth  Sharp  E  is,  on  Key- 
ed Instruments,  performed  by  means  of  P  natural ;  but 
it  cannot  be  called  by  that  name,  nor  situated  on  the 
same  Degree  ;  for,  in  that  case,  only  six  letters  would 
be  used  instead  of  seven  ;  and,  between  D  sharp  and 
F  natural,  the  Chromatic  Interval  of  the  extreme  flat 
Third  would  be  found,  which  does  not  belong  to  the 
Diatonic  Series. 


Sect.  III. — Of  the  Major  Scales  with  Flats. 

226.  It  has  been  also  shown  (Art.  93,)  that  the  in- 
troduction of  a  new  flat  takes  place  on  the  Seventh  of 
the  original  Key,  which  then  becomes  the  Subdominant 
or  Fourth  of  the  next  Scale  :  hence  are  formed  all  the 
following  Scales  with  Flats : 


F,  one  Flat. 


B  flat,  two  Flats. 


rtfe 


iiliiiilliifl! 


E  flat,  three  Flats. 


A  flat,  four  Flats. 


miwmwmmi 


D  flat,  five  Flats. 


G  flat,  six  Flats. 


lIlMgiiisill 


227.  In  this  last  Scale,  the  sixth  Flat  C  is,  on  Key- 
ed Instruments,  performed  by  means  of  B  natural ;  but 
it  cannot  be  called  by  that  name,  since,  between  B 
natural  and  the  next  Degree  in  the  Scale  (which  is  D 
flat,)  the  Chromatic  Interval  of  the  extreme  flat  Third 
would  be  found,  which  does  not  belong  to  the  Diatonic 
Series. 


MELODY. 


91 


Sect.  IV. — Of  the  Signature. 

228.  When  the  whole  number  of  Sharps  and  Flats 
are  placed  at  the  Clef,  instead  of  being  occasionally- 
inserted  before  each  Note  as  they  occur,  such  collec- 
tion of  Sharps,  or  of  Flats,  is  termed  the  Signature, 
(Art  96.) 

Signature  of  Scales  with  Sharps. 


-   &-C. 


Signature  of  Scales  with  Flats. 


&c. 


229.  Two  examples  of  the  Signature  extended  to 
the  first  double  Sharp  and  to  the  first  double  Flat,  may- 
be seen,  Art.  93,  99. 

230.  The  Scale  of  F sharp  with  six  Sharps,  being 
the  same  on  Keyed  Instruments  as  that  of  GJlat  with 
six  Flats,  all  the  Signatures  beyond  six  may  be  expres- 
sed by  a  smaller  number,  by  changing  the  name  of  the 
Tonic. 

Thus  C  sharp  with  seven  Sharps,  is  the  same  as  D 
flat  with  five  Flats  ;  and  C  flat  with  seven  Flats,  is  the 
same  as  B  with  five  Sharps.  &c.  &c.  &c. 


Sect.  V. — Of  the  Minor  Scale  or  Mode. 

231.  The  Minor  Scale  not  only  differs  from  the 
Major,  as  before  observed  (Art.  223.)  in  the  place  of  its 
Semitones,  but  also  in  the  variation  of  its  Scale,  of 
which  the  ascending  series  differs  from  the  descend- 
ing one. 

232.  The  Minor  Mode  requires,  that  whenever  the 
Seventh  of  the  Scale  (which  is  naturally  a  Tone  be- 


92 


MUSICAL  GRAMMAR. 


]ow  it)  ascends  to  the  Eighth,  it  should  become  sharp, 
as  the  proper  leading  Note  or  sharp  Seventh  to  the 
Tonic.  Now,  the  insertion  of  this  essential  Note  in 
the  Signature,  would  appear  irregular,  as  in  the  follow- 
ing Examples  :# 

>  .   Uf  ■.   _u, n     __r\ _r\     \Vt      r\  _  I 

It  is  therefore  always  omitted  in  the  Signature,  and 
placed  accidentally  before  the  Seventh  which  it  is  to 
elevate,  whenever  the  Melody  requires  its  use. 

233.  That  this  leading  Note  or  sharp  Seventh  is 
essential  to  the  Key,  although  not  to  its  Signature, 
may  be  proved  by  performing  the  subsequent  Melody, 
omitting  the  sharp  F. 

( Our  fears  are  now.) 

In  which  instance,  the  harshness  produced  by  F  natu- 
ral, if  taken  instead  of  F  sharp,  is  extremely  percep- 
tible. 

234.  As  the  Signature,  therefore,  does  not  decide 
the  Key  or  scale  of  the  Movement,  a  careful  observa- 
tion must  be  made,  whether  any  accidental  Sharps  or 
Naturals  occur  in  the  first  Phrase  or  Section.  If  any 
such  are  found,  the  Tonic  is  on  the  next  Degree  above 
them  ;  hut,  if  none  are  used,  then  the  Signature  itself 
determines  the  Major  Tonic,  which  is  always  the  Note 
above  the  last  Sharp,  or  the  fourth  Note  below  the  last 
Flat. 

235.  The  accidental  Sharp  used  in  the  Minor  Mode, 
raises  the  Minor  Seventh  of  the  Scale  a  Chromatic 
Semitone  :  hence  the  Minor  Scale  may  be  said  to  be- 
long to  the  Chromatic  Genus ;  and  its  true  essential 
Scale  is  thus  formed  : 


*  If  this  irregularity  were  adopted  in  the  three  first  Examples,  the 
essential  leading  Note  would  appear  as  if  it  were  inserted  by  mistake 
one  Degree  too  high. 


MELODY. 


93 


236.  In  this  series  is  found  the  harsh  Chromatic  In- 
terval of  the  extreme  sharp  Second  (between  F  natural 
and  G  sharp  ;)  to  avoid  which,  the  Sixth  is  made  sharp, 
to  accommodate  the  Seventh  :  thus  the  accidental  Scale 
of  the  Minor  is  formed  with  two  Notes  altered  from  the 
Signature. 


»m 


237.  But,  in  the  descending  Scale,  the  essential 
leading  Note  is  depressed,  to  accommodate  the  Sixth ; 
thus  the  natural  Scale  of  the  Signature  remains  un- 
altered. 


£_  » 


~pzz:*:=: 


Sect.  VI. — Of  the  Relative  Minor  Scales. 

238.  The  Minor  Scale  whose  Tonic  is  found  on  the 
sixth  Note  ascending  of  that  Major  Scale  which  has 
the  same  Signature,  is  termed  the  Relative  Minor,  be- 
cause its  Signature  is  similar  to  that  of  the  other. 

Major. 

G,  one  Sharp.  D,  two  Sharps. 

^frp^-^rw jj  nil  r 

ft— t  -f-rfi*«::-ft-* — W«UJ 


94 


MUSICAL  GRAMMAR. 


Relative  Minor. 

E,  one  Sharp.  B,  two  Sharps. 

These  Tonics,  it  may  be  observed,  are  one  Degree 
below  the  last  Sharp  of  the  Signature. 

239.  In  the  Signature  with  Flats,  the  Relative  Mi- 
nor (or  Sixth  of  the  Key)  is  always  on  the  third  Degree 
above  the  last  Flat ;  thus, 


F,  one  Flat 


Relative  Minor. 


D,  one  Flat. 


Sect.  VII. — Of  the  Tonic  Minor  Scales. 

240.  Every  Major  Scale,  when  its  Third  and  Sixth 
are  depressed  by  the  Chromatic  Semitone,  becomes  a 
Minor  Scale,  on  the  same  Key  Note,  and  will  be  call- 
ed, in  this  Work,  the  Tonic  Minor. 

241.  But,  as  the  Signature  requires  that  the  essen- 
tial sharp  Seventh  should  not  be  inserted  at  the  Clef, 
the  Tonic  Minor  must  have  in  its  Signature  another 
Flat,  making  in  all  three  Flats  more,  or  three  Sharps 
less,  than  the  Major  Scale  of  the  same  Key  Note  ;  thus, 


F  Major. 


F  Minor. 


Hi 


MELODY. 


95 


C  Major. 


C  Minor. 


G  Major.  G  Minor. 

-#-S*k jar-ii  ?•« 


In  the  last  Example,  the  F  *,"E  ^  and  B  -q-,  are  all 
to  be  considered  as  Sharps,  when  contrasted  with  the 
F  ■&,  £  &,  and  B  ■&,  of  the  Minor  Scale. 


D  Major. 


D  Minor. 


|^p||r|i^g|p 


In  this  Example,  the  C  ■&,  F  ■&,  and  B  -b-,  of  the  Mi- 
nor Scale,  are  all  to  be  considered  as  Flats,  when  con- 
trasted with  the  C  •#,  F  ■#-,  and  B  ^  of  the  Major 
Scale. 


A  Major. 


A  Minor. 


In  this  Example,  the  G  {X  F  -b-,  and  C  -q-,  of  the  Mi- 
nor, are  all  to  be  considered  as  Flats,  when  contrasted 
with  G  #,  F  #3  and  C  #,  of  the  Major  Scale. 


Sect.  VIII. — Of  Transposition,  &c. 

242.  That  change  which  arises  from  the  perform- 
ance of  the  same  Melody  in  a  higher  or  lower  pitch,  is 
called  Transposition. 


96  MUSICAL  GRAMMAR. 

243.  Every  Melody  in  a  Major  Scale,  may  be  trans- 
posed into  any  other  Major  Scale,  by  altering  the  Sig- 
nature according  to  the  pitch  of  the  new  Tonic.  The 
same  alteration  may  take  place  in  every  Minor  Melody. 
When,  however,  any  tune  is  performed  in  the  Rela- 
tive, or  in  the  Tonic  Minor,  which  tune  was  originally 
Major,  such  change  is  not  called  Transposition,  but 
Variation. 

244.  When,  in  the  course  of  a  Melody,  the  Tonic  is 
changed,  and  the  original  Scale  altered^  by  the  intro- 
duction of  a  new  Sharp  or  Flat,  such  change  is  called 
Modulation.  This  will  be  further  explained  in  treating 
of  Harmony. 

245.  Every  Scale  has  two  others  immediately  con- 
nected with  it ;  one  on  the  Fifth  above,  which  adds  a 
new  Sharp  to  the  Signature  ;  the  other  on  the  Fifth 
below  (or  Fourth  above,)  which  adds  a  new  Flat  to  the 
Signature.  These  two  Scales  will  in  this  work,  be 
called  Attendant  Keys ;  an  epithet  given  them  by  Dr. 
Boyce,  in  his  Manuscripts. 

246.  As  every  Major  Key  has  a  Relative  Minor, 
and  as  this  Relative  Minor  has  its  two  Attendant  Keys, 
hence  arise,  from  every  Signature,  six  Scales,*  nearly 
connected  with  each  other ;  three  with  Major  Thirds, 
and  three  with  Minor  Thirds. 

247.  Of  these,  two  are  principal,  viz.  the  Major  and 
Minor  of  the  Signature  itself;  and  four  are  subordinate, 
viz.  the  Attendant  Keys,  both  of  the  Major  and  of  the 
Minor:  these  require  another  Sharp  or  Flatr to  com- 
plete their  Scales,  when  a  Modulation  occurs. 

248.  Thus,  in  the  Major  Scale  of  C,  its  Attendant 
Scales  are  G  (its  Fifth)  with  one  Sharp,  and  F  (its 
Fourth)  with  one  Flat ;  to  which  are  annexed  the 
Relative  Minor  A,  and  its  two  Attendant  Scales,  viz.  E 
Minor  with  one  Sharp,  and  D  Minor  with  one  Flat. 

249.  The  same  arrangement  takes  place  in  every 
Key  ;  and  it  is  necessary  to  observe,  that  when  the 
Minor  Key  is  first  taken,  the  Major  Key  of  the  same 
Signature  is  called  the  Relative  Major,  and  is  found  on 
the  Minor  Third  above  the  original  Minor  Key-note. 

■  *  Mr.  Keeble  (Harmonics,  1784)  describes  these  Scales,  and  terms 
them  auxiliary.     Padre  Martini  has  given  a  Table  of  them. 


MELODY.  97 


CHAP.  V. 


OF  THE  QUALITIES  OF  THE  NOTES 
WHICH  COMPOSE  THE  SCALE. 

Sect.  I. — Of  the  Tonic,  Dominant,  &c. 

Art.  250.  Every  one  of  the  seven  Notes  which 
form  the  Scale  of  any  Key,  Major  or  Minor,  has  an  ef- 
fect peculiar  to  itself:  from  this  effect  they  derive  par- 
ticular names,  which  are  these. 

251.  I.  The  Tonic,  or  Key-note,  before  described, 
(Art.  221,)  is  that  chief  sound  upon  which  all  regular 
Melodies  depend,  and  with  which  they  all  terminate.* 
All  its  Octaves,  above  or  below,  are  called  by  the  same 
name. 

252.  II.  The  Dominant,  or  Fifth  above  the  Key- 
note, is  that  sound  which,  from  its  immediate  con- 
nexion with  the  Tonic,  is  said  to  govern  it ;  that  is,  to 
require  the  Tonic  to  be  heard  after  it,  at  the  final  per- 
fect cadence  in  the  Base. 

253.  III.  The  Subdominant,  or  Fifth  below  the 
Key-note,  is  also  a  species  of  governing  Note,  as  it  re- 
quires the  Tonic  to  be  heard  after  it  in  the  Plagal  Ca- 
dence. It  is  the  Fourth  in  the  regular  ascending  Scale 
of  seven  Notes,  and  is  a  Tone  below  the  Dominant ; 
but  the  term  arises  from  its  relation  to  the  Tonic,  as 
the  Fifth  below. 

254.  These  three  principal  Sounds,  the  Tonic, 
Dominant,  and  Subdominant,  are  the  radical  parts  of 
every  Scale  ;  of  the  Minor,  as  well  as  of  the  Major. 
All  Melodies  whatever  are  derived  from  these  Sounds, 
and  are  wholly  dependent  upon  them. 

255.  IV.  The  leading  Note,  or  sharp  Seventh  of 
the  Scale,  is  called,  in  Germany,  the  Subsemitone  of 
the  Mode.    This  is  always  the  Major  Third  above  the 

*  This  only  relates  to  the  chief  Melody,  or  to  its  Base  ;  the  inter- 
nal parts  of  Harmony,  as  will  be  hereafter  shown,  conclude  upon  the 
Mediant  or  Dominant. 

9* 


98 


MUSICAL  GRAMMAR. 


Dominant,  and  therefore,  in  the  Minor  Scales,  requires 
an  accidental  Sharp  or  Natural  whenever  it  occurs. 

256.  V.  The  Mediant,  or  middle  Note  between 
the  Tonic  and  Dominant  ascending,  varies  according 
to  the  Mode  ;  being  the  greater  Third  in  the  Major 
Scale,  and  the  lesser  Third  in  the  Minor  Scale. 

257.  VI.  The  Submediant*  or  middle  Note  be- 
tween the  Tonic  and  Subdominant  descending,  varies 
also  according  to  tha>Mode,  being  the  greater  Sixth  in 
the  Major  Scale,  and  the  lesser  Sixth  in  the  Minor 
Scale. 

258.  VII.  The  Supertonic,\  or  Second  above  the 
Key-note,  has  seldom  been  distinguished  in  England 
by  this  or  any  other  appellation.  In  theory  it  is  con- 
sidered as  a  variable  Sound,  being  a  Comma  higher  in 
the  Major  Scale  than  when  the  Mode  changes  to  the 
relative  Minor.J 

259.  The  effect  of  the  principal  Notes  above  men- 
tioned may  be  impressed  on  the  mind  by  the  following 
short  phrases. 

I.     Tonic  and  Dominant. 
(We  praise  thee,  O  God.§) 


dgjqggEfE 


W*J--:-J 


II.     Tonic  and  Subdominant. 
(Break  his  bands  of  sleep  asunder.  ||) 


Wffl™w 


-Mt 


*  The  Submediant  in  the  Major  Mode,  is  the  relative  Minor  Key- 
note; and  the  Mediant  in  the  Minor  Mode,  is  the  relative  Major  Key- 
note. 

|  This  is  a  translation  of  the  French  term  Sutonique ;  and  it  may 
be  observed,  than  in  the  descending  Rule  of  the  Octave,  the  Sixth  of 
the  Key  might  be  called  Superdominant  (Sudominante,)  from  its  analo- 
gy to  this  note.     Bethizy,  p.  15. 

t  This  alteration  is  explained  by  Mr.  Maxwell,  in  the  Essay  on 
Tune,  and  by  Rousseau,  in  his  Dictionary,  art.  Diacommatique. 

§  Dettingen  Te  Deum,  1743,  No.  17. 

||  Alexander's  Feast,  1736,  No.  66. 


#iM*L-i 


MELODY.  99 

III.     Tonic  and  leading  JYote. 
(The  people  that  walked*) 

IV.     Tonic  and  Mediant. 
(Softly  sweet  in  Lydian  measures.^) 

V.     Tbmc  and  Submediant. 
(In  the  battle  Fame  pursuing. ,|j 

o:z_  St  zazidzzt  izj^Sd'idzidzi: 


260.  The  Signature  of  two  Sharps  has  been  chosen 
for  these  Examples,  that  the  effect  of  the  same  Tonic 
(and  of  its  relative  Minor  in  the  Third  Example  from 
the  Messiah)  may  be  perceived  in  performing  them  all.§ 


Sect.  II. — Of  the  Characteristic  Notes  of  the 
Scale. 

261.  The  leading  Note  and  the  Subdominant  are 
the  two  characteristic  Sounds,  by  one  of  which  every 
Scale,  whether  Major  or  Minor,  is  known,  and  its  Tonic 
immediately  ascertained. 

*  Messiah,  No.  9.     U.S.  iv.  No.  301. 

f  Alexander's  Feast,  No.  66.     H.  S.  ii.  No.  154. 

J  Deborah,  1733.  No.  144.     H.  S.  i.  No.  70. 

§  The  further  utility  ofthese  denominations  will  appear  hereafter. 
In  Harmony,  especially,  the  terms  Tonic,  Dominant,  Subdominant,  and 
leading  .Vote,  will  frequently  occur ;  the  two  former,  as  the  principal 
and  sovernins  Notes;  the  two  latter,  as  the  characteristic  Notes  of 
the  Key.     (See  Art.  191.) 


100  MUSICAL  GRAMMAR. 

262.  Thus,  in  sharp  Signatures,  the  leading  Note  is 
a  species  of  Index,  which  points  invariably  to  the  next 
Degree  above,  as  its  Major  Tonic  :  this  is  always  the 
last  Sharp  in  the  Major  Mode. 

263.  In  flat  Signatures,  the  Subdominant  is  also  a 
species  of  Index,  which  points  to  the  fourth  Degree 
below,  as  its  Major  Tonic  :  this  is  always  the  last  Flat 
in  the  Major  Mode. 

264.  In  the  Minor  Modes  whose  Signatures  have 
less  than  four  Sharps  or  four  Flats,  the  Subdominant, 
being  always  one  of  the  natural  Notes,  is  not  apparent- 
ly a  characteristic  of  the  Key  ;  and  therefore,  in  those 
Modes,  the  leading  Note  is  the  only  certain  Index  from 
which  the  Key-note  is  to  be  found. 

265.  The  great  importance  of  these  two  Notes  ap- 
pears evident,  when,  in  occasional  Modulation,  the  new 
Key  is  required  to  be  found  by  their  assistance.  In  all 
flat  Signatures  (F  Major,  B  flat  Major,  E  flat  Major, 
&c.)  the  leading  Note  is  a  Natural;  and  this  is  the 
sharp  Seventh  of  the  Key,  as  in  the  following  Example : 

(See  the  tall  palm.*) 

illSiilliii 


Here  the  Natural  B  is  the  leading  Note  of  the  new 
KeyC. 

266.  In  the  sharp  Signatures,  on  the  contrary,  the 
Subdominant  is  distinguished  by  a  Natural,  and  re- 
quires, in  Modulation,  the  alteration  of  the  Sharp  in  the 
Signature. 

(When  warlike  ensigns.^) 

Here  the  Natural  F  is  the  Subdominant  of  the  new 
KeyC. 

*  Solomon,  1749,  No.  90.    H.  S.  iv.  No.  294. 
t  Art.  148. 


MELODY.  101 

267.  Hence  it  appears,  that  whenever  the  charac- 
teristic Note  of  the  new  Key  is  marked  by  a  Natural, 
that  Natural  always  has  the  effect  of  a  Sharp  or  of  a 
Flat ;  of  a  Sharp,  when  it  is  a  leading  .Vote  ;  of  a  Flat, 
when  it  is  a  Subdominant* 


CHAP.  VI. 
OF  AjYCIEjYT  SIGNATURES. 

Sect.  I. — Or  Ancient  Signatures  in  General. 

Art.  268.  In  the  Music  of  Corelli,  Geminiani,  Han- 
del, &c.  the  general  rules  of  finding  the  Tonic,  either 
in  the  Major  Mode,  by  the  characteristic  Notes  of  the 
Signature,  or  in  the  Minor  Mode,  by  the  leading  Note 
accidentally  inserted,  are  not  always  sufficient. 

269.  When,  instead  of  the  complete  series  of  Sharps 
or  Flats  of  the  Signature,  the  last  Sharp  or  Flat  is  sup- 
pressed, and  inserted  accidentally  when  requisite  (like 
the  leading  Note  of  the  Minor  Mode,)  such  deviation 
from  the  usual  method  of  Notation,  will,  in  this  Work, 
be  termed  the  Ancient  Signature. 

270.  Thus,  in  the  seventh  and  twelfth  Sonatas  (or 
Violin  Solos,)  of  Corelli,  Opera  quinta,  the  Signaturesf 
appear  to  be  either  C  Major,  or  A,  its  relative  Minor; 
but  the  Accidental  Notes,  C  sharp  and  B  flat,  show 
that  the  real  Key  is  D  Minor,  and  that  the  B  flat,  which 
is  used  in  the  modern  Signature,  is  omitted  at  the  Clef. 

271.  Examples  of  the  ancient  Signature  of  D  Minor, 
may  also  be  found  in  the  third  and  fifth  Concertos  of 
Geminiani,  Opera  seconda,  and  in  the  fourth  Concerto 
of  Opera  terza.  For  instance,  the  first  Movement  of 
his  third  Concerto  begins  thus  : 

*  Fee  the  remarks  in  Art.  97,  in  Note. 

f  Although  the  term  Sirnature  is  defined.  Art.  ?28,  to  be  the  num- 
ber of  Sharps  or  Flats  at  the  Clef,  yet  the  word  will  be  also  applied 
to  the  two  natural  Keys  of  C  Major  and  A  Minor. 


102 


MUSICAL  GRAMMAR. 


Here  the  Key  is  known  to  be  D,  by  the  accidental 
C  sharp,  and  to  be  also  D  Minor,  by  the  natural  F, 
which  remains  unaltered,  as  in  the  Signature. 

272.  The  same  ancient  method  of  Notation  is  some- 
times found  in  the  Key  of  G  Major,  where  the  Sharp 
of  the  leading  Note  F,  is  inserted  accidentally  when 
requisite ;  as  in  the  following  Example  from  the  first 
Chorus  of  Handel's  Oratorio  of  Saul,  How  excellent  thy 
name,  O  Lord.  One  of  the  intermediate  Movements 
commences  thus : 

(The  youth  inspired  by  thee,  O  Lord.) 


Here  the  Key  is  known  to  be  G  by  the  Sharp  before 
the  F,  which  is  used  in  the  second  Treble  as  a  Third 
below  the  A  ;  and  the  B  natural  of  the  Clef  shows  it  to 
be  G  Major. 


Sect.  II. — Of  Ancient  Sharp  Signatures. 

273.  The  ancient  Signature  of  one  Sharp,  is  appli- 
cable to  the  Keys  of  D  Major  and  B  Minor;  but  the 
sharp  Signatures  of  this  ancient  method  are  never 
found  in  the  Minor  Mode  ;  for,  as  the  Second  (or  Su- 
pertonic)  of  the  Key  would  then  require  an  accidental 
Sharp,  the  irregularity  before  mentioned  (Art.  232,) 
would  perpetually  recur. 

274.  In  the  Solos  of  Corelli  (Opera  quinta,)  how- 
ever, several  instances  occur  of  the  ancient  sharp  Sig- 
nature in  the  Major  Mode;  viz.  the  sixth  and  ninth 
Sonatas  in  two  Sharps  are  in  the  Key  of  A  Major ;  and 
the  G  sharp  is  accidentally  inserted. 


MELODY.  103 

275.  The  eleventh  Sonata  of  the  same  work  bears 
the  Signature  of  three  Sharps,  and  is  in  the  Key  of  E 
Major,*  the  D  sharp  being  inserted  accidentally. 

276.  The  ancient  Signature  of/bur  Sharps  i*s  found 
in  Handel's  beautiful  air.  Rendi  itsereno  al  ciglio,  from 
the  Opera  Sosarmes.T  This  is  in  B  Major,  "with  the 
Sharp  to  its  leading  Note  A,  occasionally  inserted. 


Sect.  III. — Of  axciext  Flat  Signatures. 

277.  The  objection  to  the  sharp  Signatures  (Art. 
273,)  does  not  apply  to  the  Flat,  since  the  Second  of 
their  Minor  Modes  is  not  affected  by  the  Flat.  For 
this  reason,  and  from  the  variable  nature  of  the  Sixth 
or  Submediant  in  the  Minor  Scale  (Art.  236.)  the  an- 
cient flat  Signatures  are  verv  frequently  found. 

278.  I.  The  Signature  of  one  Flat  belongs  to  B  flat 
Major  and  G  Minor.  The  following  Example,  in  the 
opening  of  Corelli's  fifth  Concerto  (Opera  sesta,)  is  in 
B  flat  Major.t 


-    279.    The  eighth  Concerto  of  Corelli  opens  with  this 
Signature  in  G  Minor,  as  in  the  following  Example  :§ 

*  Handel's  Duett,  in  the  Oratorio  of  Athalia,  {Joys  in  gentle  train 
appearing.)  is  also  in  this  Key.  and  has  this  Signature. 

j  Introduced  by  Dr.  .Arnold,  17c6,  in  the  Oratorio  of  Redemption, 
to  the  words.  Lord,  Remember  Daxid. 

X  This  will  be  mentioned  hereafter,  as  a  very  striking  instance  of 
the  use  and  effect  of  Harmony  in  deciding  the  Key  and  Mode,  inde- 
pendent of  the  Signature. 

§  This  also  depends  upon  Harmony  for  the  decision  of  its  Key  and 
Mode.  The  Melody,  as  it  here  stands,  might  be  equally  in  B  flat 
Major  or  G  Minor ;  but  the  F  sharp,  which  accompanies  the  C  in  the 
second  Measure,  decides  the  Key. 


104 


MUSICAL  GRAMMAR. 


280.    II.    The  Signature  of  two  Flats  belongs  to  JS 
flat  Major. 

(Cease  thy  anguish.*) 


281.  The  Signature  of  its  relative  Minor  Mode  C, 
is  very  common. 

(The  flocks  shall  leave  the  mountains.]) 

282.  III.  The  Signature  of  three  Flats,  is  unusual 
in  the  Major  Mode  of  A  Flat,  but  extremely  frequent 
in  the  Minor  of  F.  Handel,  indeed,  has  seldom  (if  ever) 
used  the  modern  Signature  in  this  Mode. 


(Ye  sons  of  lsrael.\) 


:fc— q 


i£EH=ffiE3 


m- 


283.  In  this  Example,  the  E  natural,  is  the  leading 
Note,  and  points  to  the  Key-note  F :  of  which  A  flat  is 
the  lesser  Third,  and  decides  the  Mode. 


*  Athalia,  1733,  No.  3.     H.  S.  ii.  No.  98. 

t  Acis  and  Galatea,  1720,  No.  30.     H.  S.  iv.  No.  320. 

X  Samson,  1742,  No.  53.     H.  S.  i.  No.  19. 


PART   III. 

HARMONY. 

CHAP.  I. 
OF  THE  TRIAD. 


Sect.  I. — Of  the  Consonant  and  Dissonant 

Triads. 

Art.  284.  Two  or  more  Melodies,  heard  at  the  same 
time,  form  Harmony  f  and  the  different  combinations 
of  Xotes  in  Harmony  are  termed  Chords. 

285.  The  union  of  any  Sound  with  its  Third  (Major 
or  Minor)  and  its  perfect  Fifth,  forms  the  Harmonic 
Triad.f  or  common  Chord. 

This  is  termed  the  Major  or  Minor  Triad,  according 
to  the  nature  of  its  Third. 

Major  Triad.  Minor  Triad. 


*  Dr.  B.  i.  136.  Harmony  was  formerly  (according  to  Tinctor — 
see  Dr.  B.  ii.  458)  synonymous  with  Melody,  and  the  term  Counter- 
point was  applied  to  what  we  call  Harmony.  This  term  is  derived 
from  the  ancient  Points  or  Notes,  which  were  placed  counter  or  op- 
posite to  each  other  on  the  Stafl'.  The  Examples  in  this  Third  Part 
will  be  given  in  Counterpoint ;  that  is,  heads  of  Notes,  without  their 
Stems,  will  be  used. 

t  Triad,  in  Music,  signifies  three  different  Sounds  combined  to- 
gether, at  the  distance  of  a  Third  and  a  Fifth  from  the  lowest. 

10 


106  MUSICAL  GRAMMAR. 

286.    When  the  Octave  of  the  lowest  Note  is  added 
four  Sounds  are  heard  in  the  Harmony. 

Major  Common  Chord.  Minor. 


287.  There  are  also,  besides  these  two  Consonant 
Triads,  two  Dissonant  Triads  f  one  Diatonic,  the  oth- 
er Chromatic. 

I.  The  Diatonic  Dissonant  Triad,  or  diminished 
Triad  of  the  Germans  (B,  D,  F,)  consists  of  two  Minor 
Thirds. 


II.  The  Chromatic  Dissonant  Triad,  or  superfluous 
Triad  of  the  Chromatic  Scale  (C,  E,  G  sharp,)  consists 
of  two  Major  Thirds. 


1  3  5 

The  Consonant  Triads  are  formed  of  the  two  dis- 
similar Thirds,  Major  and  Minor,  united ;  the  Disso- 
nant Triads  are  formed  of  two  similar  Thirds,  both 
Minor  or  both  Major. 

288.  In  the  Natural  Diatonic  Scale  (Art.  50,)  there 
are  six  Consonant  Triads  ;f  three  Major  and  three 
Minor. 

*  Marpurg  (Handbuch,  1755,)  adopted  this  classification,  which 
Kirnherger  rejected.  Kallmann  follows  the  system  of  this  last  inge- 
nious writer,  and  considers  the  diminished  Triad  as  a  consonant  Har- 
mony. The  Author  of  this  Work  prefers  the  arrangement  of  Mar- 
purg, which  seems  most  agreeable  to  the  theoretical  doctrine  of 
Harmonics. 

f  From  these  Triads  are  derived  the  six  Scales  before-mentioned, 


HARMONY.  107 

Major  Triad.  Minor. 

All  the  Major  Triads  become  Minor,  by  flattening 
their  Thirds  ;  and  all  the  Minor  Triads  become  Major, 
by  sharpening  their  Thirds  ;  thus, 

^--•~b»i^-^|i  -it— -•.*«-_ *-i J- J 

289.  The  Diatonic  Dissonant  Triad  has  (by  license) 
its  Third  sometimes  flattened  and  sometimes'sharpen- 
ed;  and  thus  are  formed  two  altered  Triads,*  which 
are  very  seldom  used. 


— 9. *-. 


These  altered  Triads  consist  of  a  Major  and  an  ex- 
treme flat  Third,  and  are  consequently  both  Chromatic. 

290.  The  Prime,  or  lowest  Note  "of  the  Triad,  was 
called  by  Rameau  its  fundamental  Base.+  In  this 
Work,  the  term  Radical  Base,  or  simply  the  Root,  will 
be  adopted. 

291.  The  Roots  of  the  two  Consonant  Triads  are 
easily  understood,  as  every  radical  Base  must  have  a 
perfect  Fifth  :   but  the  Roots  of  the  two  Dissonant 

Art.  247.  The  primary  and  secondary  Scales  of  Mr.  Keeble,  are 
reckoned  in  the  Major  Mode,  1st,  4th.  and  5th  C,  F.  G,  2d  3d,  and 6th 
D,  E,  A,  ascending,  and  are  inverted  in  the  Minor  Mode. 

*  See' Heck  (Thorough  Base.)  The  German  Authors  term  these 
Triads  anomalous.     See  a!so  Kollmann  (Essay  on  Harmony,  1796.) 

f  The  Root  being  placed  one  or  two  Octaves  below  the  Chord  of 
the  Accompaniment,  makes  no  difference  in  its  derivation  ;  the  radi- 
cal Base  depending  always  on  the  three  combined  Sounds  of  the 
Triad,  whether  in  close  or  dispersed  Harmony.  For  an  account  of 
Rameau  and  his  system,  see  L<r.  B  iv.  6C9."  Sir  J.  H.  v.  384.  See 
also  a  verv  satisfactory  account  of  the  discoveries  of  Galileo  Galilei, 
by  Dr.  Bu'rney,art.  Base  fundamental,  in  J)r.  Rees'  Cyclopaedia,  lately 
published. 


108 


MUSICAL  GRAMMAR. 


Triads  (Art.  287,)  and  of  the  two  altered  Triads  (Art. 
289,)  cannot  be  explained  till  the  nature  of  Discords  is 
known. 

292.  When  the  three  Sounds  of  the  Triad  are  taken 
as  an  accompaniment,  and  the  Root  remains  in  the 
Base,  the  Chord  assumes  three  different  positions. 

1st  position.  2d  position.  3d  position. 

— m & rz*_ 


The  first  position  is  that  of  3d,  5th,  and  8th. 

The  second,  of  5th,  8th,  and  3d. 

The  third,  of  8th,  3d,  and  5th. 

It  must  be  observed,  that  the  second  position,  in 
reality,  consists  of  the  Fifth,  Eighth,  and  Tenth,  and 
the  third  position,  of  the  Eighth,  Tenth,  and  Twelfth, 
of  the  Root;  but,  as  the  Tenth  and  Twelfth  are  Oc- 
taves of  the  Third  and  Fifth,  and  as  they  are  repre- 
sented by  the  same  letters,  they  are  also  called  by  the 
names  of  Third  and  Fifth,  whatever  may  be  their  dis- 
tances above  the  Root. 


Sect.  II. — Inversions  of  the  Triad. 

293.  When  the  lowest  Note,  instead  of  being  the 
Root,  is  the  Third  or  the  Fifth  of  the  Triad,  such 
change  is  termed  Inversion* 

294.  The  Inversions  of  the  Triad  differ  from  its 
Positions  ;  as  the  former  relate  to  the  whole  Harmony, 
including  the  Base,  and  the  latter  to  the  Accompani- 


*  Dr.  Pep\i sell  calls  the  two  Inversions  supposed  Bases,  and  terms 
the  Chord  of  the  Sixth  the  uncommon  Chord  ;  not  because  it  is  unu- 
sual or  improper,  but  in  contradistinction  to  the  common  Chord,  or 
that  of  which  the  lowest  Note  is  a.  fundamental  Base. 


HARMONY. 


109 


ment  alone,  independent  of  the  Base.  Hence  every 
Triad  has  three  Positions,  but  only  two  Inversions  ;  for, 
when  the  Root  is  in  the  Base,  the  Chord  is  called  Di- 
rect, whatever  may  be  the  Positions  of  the  Accompani- 
ment. 

^95.  I.  The  Chord  of  the  Sixth,  is  the  first  Inver- 
sion of  the  Triad,  when  the  Base  Note  becomes  the 
Third  of  the  Harmony,  instead  of  the  Root.  This 
Chord,  in  the  figures  of  Thorough  Base,  is  expressed 
by  a  6 :  to  which  also  belongs  the  Third  of  the  lowest 
Note  (or  Fifth  of  the  Root:)  and  in  the  practice  of 
Counterpoint,  the  Octave  of  the  lowest  Note  is  either 
omitted,  or,  if  four  parts  are  requisite,  the  Sixth  or  the 
Third  may  be  doubled. 

©- 9- — J — J 


u  u  \j  u 


296.  The  same  arrangement  takes  place  in  the  Mi- 
nor Triad,*  and  its  first  Inversion  ;  in  the  first  Inver- 
sion of  the  Diatonic  Triad,  B,  D,  F,  however,  the  Sixth 
is  never  doubled,  but  the  Octave  preferred,  when  four 
parts  are  requisite. 


fe -»; ; » g- i 


79 

T 

6 


*  An  ingenious  Theorist  Pizzati  (Scienza  de!  Suoni,  1782,)  reckons 
the  Minor  Triad  dissonant,  because  it  does  not  produce  the  third 
Sound  of  Tartini,  fee.  On  the  contrary,  Kirn berger  (1774)  asserts, 
that  the  diminished  Triad  is  cansonant,  because  it  is  used  in  Harmoni- 
ca! Progression,  like  the  other  two  Triads. 

10* 


110 


MUSICAL  GRAMMAR. 


297.  A  stroke  through  the  figure  six,  thus  0,  ele- 
vates the  Sixth  Note  from  the  Base,  a  Chromatic  Semi- 
tone ;  and,  when  used  on  a  Minor  Sixth,  makes  it  the 
first  Inversion  of  the  Dissonant  Triad  ;  thus, 


zzzrazzz:: 


m=E*Ei 


When  the  same  mark  occurs  on  a  Major  Sixth,  it 
makes  it  the  first  Inversion  of  the  altered  Triad  (Art. 
289,)  thus, 


These  two  Chords,  which  are  of  great  importance, 
will  be  hereafter  distinguished  by  the  names  of  the 
sharp  Sixth  and  of  the  extreme  sharp  Sixth ;  the  first 
always  accompanied  by  a  Minor,  and  the  second  by  a 
Major  Third. 

298.  II.  The  Chord  of  the  Fourth  and  Sixth*  is 
the  second  Inversion  of  the  Triad,  when  the  Base  Note 
is  the  Fifth  of  the  Harmony,  instead  of  the  Root.  It  is 
expressed,  in  Thorough  Base,  by  a  4  under  a  6,  and  in 
four  parts,  the  three  positionsf  of  the  Triad  are  used 

*  Kirnberger  considers  this  Harmony,  when  suspended,  as  disso- 
nant (see  Mr.  Kallmann's  Essay  on  Harmony  ;)  but  Marpurg  has,  in 
the  Appendix  to  his  Essay  on  Temperament  (1776)  shown  that  the 
classification  of  his  opponent  is  not  well  founded,  and  that  the  theo- 
ry is  not  strictly  true. 

f  Mr.  Shield  has  given  the  Positions,  without  distinguishing  them 
by  this  name  ;  the  Inversions  are  described  by  him  under  the  Titles 
of  first  and  second  Derivatives. 


HARMONY.  Ill 

as  its  Accompaniment  (Art.  292.)  without  any  regard 
(as  in  the  Chord  of  the  Sixth,)  to  the  omission  of  one 
Note,  or  the  doubling  of  another  (Art.  295.) 

:=:i==i==i=i=az=E=lz= 

» » *. — 4- — ®- » 

a. m— — a- —  l — ••--— J 


Sect.  III. — Of  the  Direct  and  Contrary  Mo- 
tions, AND  THE  RULES  FOR  THEIR  USE  IN  HaR- 

MONT. 

299.  Before  the  Harmonical  succession  of  Triads 
can  be  rightly  understood,  it  is  necessary  to  explain 
the  different  Motions  of  the  parts  which  constitute  Har- 
mony. Two  of  these  are  essential,  viz.  the  direct  Mo- 
tion and  the  contrary  Motion. 

300.  In  the  direct  Motion,  the  parts  move  the  same 
way,  ascending  or  descending. 

f:r;— *—*—?— ?—*—iE! 

301.  In  the  contrary  Motion,  one  part  rises,  while 
the  other  falls. 


:=::nzz=i: 


:^zzz 


302.    By  the  knowledge  of  these  two  Motions,  the 
power  of  avoiding  many  harmonical  irregularities  may 


112  MUSICAL  GRAMMAR. 

be  obtained,  and  the  following  rules*  of  Harmony  cor- 
rectly observed. 

I.     All  consecutive  Octaves  and  Fifths  must  be  avoid- 
ed in  the  direct  Motion. 

Octaves  and  Fifths  by  the  The  same  avoided  by  the 

direct  Motion.  contrary  Motion. 


II.  All  unnecessary  Skips  are  to  be  avoided,  and  all 
the  Chords  are  to  be  taken  as  closely  and  as  much  con- 
nected as  possible. 

III.  All  false  Relations,  (such  as  the  extreme  sharp 
Second,  &c.)  are  disallowed,  unless  for  the  expression 
of  some  particular  effect. 

IV.  All  irregular  Motions  of  the  parts  in  Harmony 
are  to  be  avoided.  Every  Major  or  sharp  Interval 
ought  to  ascend,  and  every  Minor  or  flat  Interval  ought 
to  descend  ;  that  is  to  say,  the  part  in  which  those  In- 
tervals are  found  in  combination,  is  to  rise  after  the 
Sharp,  and  to  fall  after  the  Flat.  This  rule,  however, 
is  always  subordinate  to  that  of  avoiding  Octaves  or 
Fifths,!  and  is  not  regarded  when  the  Melody  is  to 
produce  an  effect  opposite  to  the  rule.  The  internal 
parts  of  Harmony,  however,,  are  to  be  regulated  by 
these  observations. 


Sect.  IV. — Of  Harmonical  Progression. 

303.  The  term  Progressio7i\  will  be  used,  in  this 
Work,  in  contradistinction  to  the  term  Modulation^ 

*  The  ten  Rules  of  Pietro  Aron  (1523,  Dr.  B.  iii.  155)  were  after-- 
wards  extended   to  twelve.     See  Cerone  (El  Melopeo,  16J3,)  and  Lo- 
rente  (El  Porque,  1673.) 

f  Nicolas  Burtius  (Musices  Opusculum,  1487,)  the  Guidonian 
adversary  of  Bartholomew  Ramis,  was  a  Pythagorean  follower  of 
Boethius,  and  admitted  no  Consonances  but  Octaves,  Fifths,  and 
Fourths.  He  calls  the  Thirds  and  Sixths  allowable  Dissonances  (dis- 
sonantice  compassibiles,)  and  has  given  (fol.  e,  5)  five  Precepts  of 
Counterpoint,  which  will  ever  be  classical,  particularly  that  of  avoid- 
ing Fifths  and  Octaves  in  succession. 

t  Tonfuhrung,  Koch's  Anleitung,  iii.  139. 

$  Tonausweichung,  Koch's  Anleitung,  ii.  169. 


HARMONY.  113 

to  signify  that  succesion  of  Triads  or  perfect  Chords, 
which,  by  being-  confined  to  the  Scale  of  the  original 
Key,  only  admits  the  Tonic  and  its  two  attendant  Har- 
monies, occasionally  interspersed  with  the  relative 
Tonic  and  the  two  Harmonies  attending  on  that  Scale  ; 
whether  the  original  Mode  be  Major  or  Minor. 

Although  a  change  into  the  relative  Scale  implies  a 
partial  Modulation,  yet  in  all  cases,  where  the  new 
Scale  remains  undecided,*  by  the  omission  of  the  lead- 
ing Note,  and  the  original  Tonic  still  continues  a  pre- 
dominant Sound,  the  term  Progression  will  be  retained. 

304.  As  the  Scale  consists  of  seven  different  Notes, 
it  is  evident  that  two  Triads,  which  only  contain^/we 
Notes  (one  Note  being  common  to  both.)  cannot  de- 
cide the  Key.  Hence  the  following  Examples,  al- 
though perfectly  similar  in  Notes,  appear,  by  means  of 
the  Accent,  to  be  in  two  different  Keys,  and  are  there- 
fore equivocal. 

In  the  Key  of  G.  In  the  Key  of  C. 


305.  If,  however,  three  different  Chords  are  taken, 
the  Key  may  be  decided :  this  is  performed  by  the 
Progression!  of  Tonic,  Subdominant,  and  Dominant 


*  Particularly  in  Sequences,  as  will  be  explained  hereafter. 
t  The  following  excellent  observation   of  Dr.  Pepusch,  cannot  be 
too  often,  or  too  strongly  impressed  upon  the  mind  of  the  Student, 

VIZ,    ALL    MELODIES    HATE  THE  PERFECT  CON'COIiDS  OF  THE  KEY  THEY 
ARE  IN  FOR  THEIR  FUNDAMENTAL  BASES. 


114  MUSICAL  GRAMMAR. 

306.  Thus,  in  the  Tonic  Harmony,)      of  the 
are  found  the  3d  and  the  5th,  I    Root  of 

In  the  Subdominant,  the  4th  and  6th,  r       the 
And  in  the  Dominant,  the  2d  and  7th  j     Scale.* 

307.  The  Major  Mode,  with  its  relative  Minor,  and 
the  four  attendant  Harmonies,  may  be  thus  arranged  : 


Tonic.      Domt.      Subdt. 

Rel.  Min.       Its  Dt.    Its  Subdt. 

W=i0~~ 

EEz==^EEi:=::: 

— — — — — — — — . 

308.    The  Minor  Mode,  with  its  relative  Major,  and 
the  four  attendant  Harmonies,  may  be  thus  arranged  : 

Tonic.    Domt.      Subdt.        Rel.  Maj.    Its  Subdt.      Its  Dt. 


309.  The  relative  attendant  Harmonies  are.  very 
seldom  used,  particularly  the  relative  Subdominant,  or 
Second  of  the  Major  Mode  (as  D  in  C  Major  ;)  but,  in 
modern  Music,  this  Harmony  more  frequently  occurs, 
and  will  be  further  explained  hereafter.f 

310.  The  motions  of  the  radical  Bases  or  Roots  of 
these  Chords,  are  reducible  to  six,  divided  into  three 
classes. 

I.  The  Dominant!  Motion,  or  ascent  of  the  4th  or 
5th. 

II.  The  Mediant  Motion,  or  ascent  of  the  3d  or  6th. 

III.  The  Gradual  Motion,  or  ascent  of  the  2d  or  7th. 
These  may,  of  course,  be  inverted,  and  become  the 
same  descending  ;  as  the  Directs  towards  the  remoter 
distances  show  in  the  Example. 

*  This  arrangement  is  like  that  before  given  (Art.  191,)  where  the 
Chords  are  shown  detached  in  Minims. 

f  Dr.  Pepusch,  although  he  expressly  allows  the  Harmonies  of  A, 
and  of  E,  in  C  Major,  makes  no  mention  of  D. 

X  The  Dominant  Motion  is  the  foundation  of  the  perfect  and  im- 
perfect Cadences,  as  the  Gradual  Motion  is  of  the  false  and  mixt  Ca- 
dences :  these  will  be  explained  in  the  Fourth  Chapter  of  this  Part. 


HARMONY. 

I.     Dominant,            II.   Mediant. 

III.  Gradual 

Ascent  of  4th,                    3d, 

and  2d. 

115 


*=== 


m^mmm 


a*  *z 


Descent  of  4th,  3d,  and  2d. 


'■&+—> 


311.  Of  these  Motions,  the  Dominant  an  A  the  Me- 
diant are  regular,  having  a  Sound  common  to  both 
Chords ;  but  the  Gradual  is  irregular,  as  the  Chords 
have  no  connexion  with  each  other. 

312.  When  the  .Melody  moves  regularly,  by  De- 
grees ascending  or  descending,  the  following  Progres- 
sions* in  the  Ease  are  often  employed. 

1.     Dominant  Motions  by  Fourths. 

Rising  Fourths  and  falling  Fifths. 
Descending  Melody.    SJ5_5 &■-— ^~ — 

Rising  Fifths  and  falling  Fourths. 
Ascending  Melody.      SiZi—^. ' 0 ft -. 

If.    Mediant  Motion  by  Thirds. 

Rising  Tiiirds  and  falling  Fourths. 
Descending  Melody.    S2;_ 9. @. 3 


Ascending  Melody.     £-^ — ^ — ■ s- 


Rising  Fourths  and  falling  Thirds 


See  Koch's  Lexicon,  art.  Drevklanc,  i.  491. 


U6  MUSICAL  GRAMMAR. 

III.     Gradual  Motion  by  Seconds. 

Rising  Seconda  and  falling  Thirds. 
Ascending  Melody.     s3»—  _~~~*"T~~"       jf 

Rising  Seconds  and  falling  Fourths. 
Descending  Melody.    s25Z__~Z~ff!ZZ^rZZ|EZ 


CHAP.  II. 

OF  THE  DOMINANT  SEVENTH,  ITS  IN- 
VERSIONS, RESOLUTION,  AND  OF  MO- 
DULATION. 

Sect.  I. — Of  the  Dominant  Seventh. 

313.  When  a  Minor  Seventh  is  joined  to  the  Major 
Triad,  a  Chord  of  four  different  Sounds  is  formed,  and, 
as  this  only  occurs  when  the  Fifth  of  the  Key  is  the 
Base  Note,  the  Harmony  is  called  the  Dominant*  Sev- 
enth. 


*  The  Dominant  before  mentioned  (Art.  252,)  derives  its  name 
from  the  ancient  Church  Tones,  in  which  it  was  the  Fifth  in  the  Au- 
thentic, and  the  Octave  in  the  Plagal  Scales,  but  always  a  Fifth  above 
the  final  or  modern  Tonic.  Mersenne,  in  his  learned  work,  entitled, 
Traite  de  l'Harmonie  Universelle,  first  published  in  8vo.  under  the 
assumed  name  of  Le  Sieur  de  Sermes  (Paris,  1627,)  has  given  the  fol- 
lowing explication  of  the  term: 

"  II  faut  remarquer  que  le  Pseaume  est  dit  se  chanter  en  fa,  en  la, 
&c.  non  qu'il  n'ait  que  cette  seule  note  ;  mais  parce  qu'elle  est  plus 
souvent  repetee  que  les  autres  ;  de  la  vient  qu'  on  l'appelle  Domi- 
nante,  car  elle  s'entehd  plus  souvent  que  les  autres,  et  gouverne  le 
ton." 


HARMONY.  117 


'.+ 9- — : 

■m- »■ — 


v  13  5  7 

The  Note  which  forms  the  Discord  in  this  Harmony, 
is  the  Subdominant  or  Fourth  of  the  Scale  :  and  being 
a  Minor  Interval,  requires  the  part  in  which  it  is  heard, 
to  descend  one  Degree. 

314.  In  the  Major  Mode,  this  descent  is  a  Semi- 
tone, as  in  the  following  Example  : 


a.. 

■* 


In  the  Minor  Mode,  the  E  becomes  flat,  and  the  de- 
scent is  consequently  that  of  a  Tone. 

315.  The  Major  Third  of  the  Dominant,  which  is 
also  the  Sharp  Seventh  or  leading  Note  of  the  Scale, 
must  ascend.  Thus,  in  the  Major  Scale,  the  two  char- 
acteristic Notes  are  united,  and  form,  between  them- 
selves, the  Interval  of  the  flat  Fifth,  of  which  the  Root 
is  the  Dominant :  thus, 


316.  In  all  regular  progression,  the  Dominant 
Seventh  requires  the  Triad  of  the  Tonic  to  succeed  it ; 
and  hence  its  Base-note  is  called,  by  Rameau,  the  gov- 
erning Note  or  Dominant  of  the  Key. 

317.  The  Dominant  Seventh  is  used,  like  all  other 
Discords,  either  by  Transition,  Addition,  or  Suspen- 
sion j*  and  must  in  all  cases  be  resolved,  that  is,  taken 
away,  by  the  descent  of  the  part  in  which  it  is  found. 
As  a  passing  or  added  Note,  it  is  employed  without 
preparation;  thus, 

*  Every  Discord  of  Suspension  must  be  prepared,  struck,  and  re- 
solved; hence  arise  the  three  terms  Preparation,  Percussion,  and  Reso- 
lution, described  by  Padre  Martini,  Saggio  di  Contrappunto. 


118  MUSICAL  GRAMMAR. 

fl.    By  Addition. 


318.     But,  as  a  suspended  Note,  it  must  be  prepared, 
that  is,  heard  in  the  preceding  Harmony  ;  thus, 


In  this  instance,  the  F  prepares  the  Seventh  in  the 
first  Harmony  ;  is  heard  as  a  Discord  in  the  second,  and 
resolves,  by  descending  to  E,  in  the  third. 

319.  There  are  several  other  Sevenths,  used  in 
Harmony,  upon  the  different  Triads  of  the  Scale, 
(whether  Consonant  or  Dissonant,)  in  both  Modes. 
These  sevenths,*  although  not  exactly  Chords  of  the 
Dominant,  are  nevertheless  used  in  its  place,  to  avoid 
Modulation  ;  as  will  be  hereafter  explained  in  the  fifth 
Chapter  of  this  Part,  on  Sequences.  They  also  pre- 
serve a  uniform  motion  in  the  progression  of  their 
Roots,  (Art.  312,)  and,  at  the  same  time,  produce  a 
Melody,  descending  by  Degrees,  in  the  original  Key 
— These  are, 

320.  I.  The  Minor  Sevenths  with  Minor  Thirds,  on 
the  Triads  of  A,  D,  and  E,  which  belong  to  A  Minor.f 


*  M.  Framery  (Encyclopedic  Methodique,  art,  Dominante,)  contro- 
verts the  Nomenclature  of  Rameau,  Bethizy,  &c.  in  which  the  Sev- 
enths are  called  simple  Dominants,  and  the  principal  one  Tonic  Domi- 
nant; and  shows  that  the  term  ought  to  be  confined  to  the  Fifth  of 
the  Key  :  this  arrangement  is  followed  in  the  present  Work. 

t  The  first  inversion  of  this  Chord,  taken  on  the  Subdominant  of 
the  Major  Key,  is  in  the  system  of  Rameau  a  fundamental  Chord 
with  the  added  Sixth.  It  will  be  shown  hereafter,  that  the  Root  de- 
pends upon  the  Key  or  Scale,  and  that  the  Seventh,  D,  F,  A,  C,  has 
D  for  its  root  in  A  Minor,  and  F  for  its  Root  in  C  Major. 


HARMONY.  119 


321.  II.  The  Major  Sevenths  with  Major  Thirds, 
on  the  Triads  of  C  and  P,  which  belong  to  C  Major. 
These  are  often  found  in  passages  of  Transition,  as  the 
Directs  show  in  the  following  Examples  : 


:=z=:Szz3:^li— :lz=::*^:z=i 


322.  III.  The  Minor  Seventh  with  the  Flat  Fifth, 
upon  B. 

In  C  Major.  In  A  Minor. 

--S-Av= 

~m w ** ^ 

This  belongs  either  to  C  Major,  or  to  A  Minor,  ac- 
cording to  its  Resolution,  as  shown  by  the  Directs.  If, 
however,  the  Dominant  on  E  should  require  G  natural 
instead  of  G  sharp  (as  shown  by  the  last  Directs,)  the 
Chord  becomes  part  of  a  Sequence,  and  the  Minor 
Mode  of  A  changes. 

323.  IV.  The  extreme  Flat  Seventh*  upon  G  sharp 
in  A  Minor,  formed  of  three  Minor  Thirds. 


324.  The  Seventh,  consisting  of  four  Sounds,  ad- 
mits of  four  different  Positions  :j  thus, 

*  Or  equivocal  Chord.     Shield. 

f  Tn  general,  the  Octave  to  the  Root  is  omitted,  otherwise  a  Chord 
of five  Sounds  would  he  employed  ;  a  combination  seldom  necessary. 
Pasquali  (Thorough  Base,)  has  uniformly  given  the  Chord  of  the 
Seventh  full,  with  four  INotes  in  the  Accompaniment  ;  but  this  ap- 
pears irregular,  as  three  Notes  are  generally  sufficient.  At  a  final 
Cadence,  indeed,  the  Dominant  may  be  taken  thus,  I),  F,  G,  B,  but 
then  the  following  Tonie  ought  to  consist  of  C,  E,  G,  C. 


120 


MUSICAL  GRAMMAR. 


The  first  position  is  that  of  3d,  5th,  7th,  and  8th. 

The  second,  of  5th,  7th,  8th,  and  3d. 

The  third,  of  7th,  8th,  3d,  and  5th. 

The  fourth,  of  8th,  3d,  5th,  and  7th. 

These  positions,  like  those  of  the  Triad  (Art.  292,) 
contain  the  Tenth,  Twelfth,  and  Fourteenth  of  the  Root, 
when  the  Third,  Fifth,  and  Seventh,  are  taken  above 
the  Octove. 


Sect.  II. — Of  the  Inversions  of  the  Dominant 
Seventh. 

325.  This  Harmony  which  consists  of  four  different 
Sounds,  has  consequently,  three  Inversions,  besides  its 
direct  form  of  3d,  5th,  and  7th,  just  described. 

326.  I.  The  Chord  of  the  Fifth  and  Sixth,  is  the 
first  Inversion  of  the  Dominant  Seventh,  when  the 
lowest  Note  becomes  the  Third  of  the  Root.  In 
Thorough  Base,  it  is  expressed  by  a  5*  under  a  6  (to 
which  the  Third  is  understood,)  and,  in  practice,  the 
Octave  of  the  Base  Note  is  omitted. 


*  It  is  often  usu  il  to  omit  the  six,  -and  to  express  this  Chord  by  a 
five  singly,  with  the  stroke  through  it,  thus,  p  like  the  sharp  0 
(Art.  297  ;)  and,  as  his  always  implies  the  flat  Fifth  (Art.  163,)  the 
riixth  and  the  Third  are  consequently  understood.,  This  Inversion  is 
employed  in  the  Hailstone  Chorus  (Israel  in  Egypt,)  and  finishes  the 
Sequence  of  Sixths,  to  the  words, ';  ran  along  upon  the  ground." 


:=*=: 


HARMONY.  121 


f  111 


ip=EE==;j|=||=lp|; 

327.  II.  The  Chord  of  the  Third  and  Fourth  is  the 
second  Inversion  of  this  Harmony,  when  the  lowest 
Note  becomes  the  Fifth  of  the  Root.  It  ought,  ac- 
cording to  its  derivation,  to  be  expressed  by  a  3  under 
a  4  (to  which  the  Sixth  is  understood ;)  but,  as  the 
Fourth*  (or  proper  Root  of  the  Harmony)  is  not  pleas- 
ing to  the  ear,  it  is  usually  omitted.  Thus,  the  Chord 
appears  as  a  simple  Sixth,  and  also  as  the  first  Inver- 
sion of  the  Diatonic  Dissonant  Triad,  D,  P,  B. 

-f*~-l"  - 
-©- 

7 

m=z  E: 


w, 


9- +3^-  — ♦ •" 


328.  III.  The  Chord  of  the  Second  and  Fourth^  is 
the  third  Inversion  of  this  Harmony,  when  the  lowest 
Note  becomes  the  Discord,  and  the  Triad  commences 

*  Mattheson  (Orch.  i.  1713,)  rejects  the  Fourth  from  among  the 
Concords,  and  asserts  its  dissonant  nature.  Handel,  Corelli,  &c. 
have  uniformly  omitted  it  in  this  Harmony.  The  theory  of  the  one, 
and  the  practice  of  the  others,  seem  to  be,  in  this  instance,  justified, 
by  the  want  of  Melody  in  the  intermediate  part,  when  the  Fourth  is 
inserted.  In  modern  Music,  however,  this  I nvershn  is  used  com- 
plete with  considerable  success,  when  the  Tonic  Base  both  precedes 
and  follows  it.  See  an  admirable  instance  in  the  Opera  of  Motezuma, 
by  Sacchini,  at  the  Chorus,  "  JfelV 'orror ." 

t  As  the  third  Inversion  of  the  Dominant  produces  a  very  great 
effect,  the  compositions  of  the  best  Masters  afford  frequent  examples 
of  its  utility.  In  the  last  Chorus  of  the  Messiah  {Amen,)  before  the 
final  pause,  this  Inversion  of  the  Dominant  Harmony  of  A.  upon  the 
Base  Note  G,  is  a  remarkable  instance  of  the  sublimity  of  Handel. 
11* 


122 


MUSICAL  GRAMMAR. 


on  the  next  Degree  above.  It  is  expressed  by  a  2  un- 
der a  4  (to  which  the  6th  is  understood,)  sometimes  by 
a  2  alone. 


Sect.  III. — Of  the  Resolution  of  the  Dominant 
Seventh. 

329.  The  descent  of  the  part  in  which  the  Domi- 
nant Seventh  is  found,  is  called  its  Resolution ;  and,  as 
before  observed,  (Art.  314,)  that  descent  is  either  a 
Tone  or  a  Semitone,  according  to  the  Mode. 

330.  This  Resolution  of  the  Seventh,  occasions  two 
apparent  irregularities,*  viz. 

I.  The  four  Sounds  of  the  Dominant,  followed  by 
the  three  of  the  Triad  ;  in  which  the  last  Harmony  is 
weakened  by  two  parts  becoming  Unisonj. 

I.  It.  in.  iv. 


>|— ;rrT*=s— -rr-::i 


— /•—i — i — i — i— 


% 


:zs.—Z—zi*~z—s—zz:.s-~z:: 


*  See  the  remarks  on  Pasquali,  in  the  Note. 

f  The  Unison  parts  are  placed  in  the  middle  Staff,  with  Stems 
turning  both  ways. 


HARMONY. 


123 


II.  The  omission  of  the  Fifth  in  the  Tonic  Triad, 
when  the  antecedent  Dominant  is  taken  without  the 
Octave  to  the  Base  ;  thus, 


*    -■•-  r 


331.  When,  however,  instead  of  the  Octave,  the 
Fifth  or  Third  of  the  Dominant  itself  is  omitted,  the 
subsequent  Triad  can  be  taken  complete  ;  thus, 

1 1 1 1 » rg *•" J—, 

z=3=izz=?=az=ez=l=zp::zS:-J 


ffizz: 


E?=hi=hi=^£: 


In  all  these  Examples,  the  Minor  Seventh  (or  Sub- 
dominant  of  the  Scale)  descends  ;  and  the  Major  Third 
of  the  Dominant  (or  leading  Note  of  the  Scale)  as- 
cends.*   (See  Art.  315.) 

332.  Two  instances  also  occur,  when  this  general 
rule  of  resolving  the  Seventh  by  the  descent  of  the 
Melody,  is  apparently  neglected. 

I.  When,  by  license,  the  base  itself  takes  the  Reso- 
lution ;f 


*  Rousseau,  art.  Sauver — Koch  and  Sulzer,  art.  rfuflosung,  have 
written  long  and  useful  articles  on  this  subject.    See  also  Shield, 
f  Kolimann,  Essay  on  Harmony.    Holden. 


124 


MUSICAL  GRAMMAR. 

Thus,  Instead  of 


6 


?E===E?Ep==?= 


II.  When,  after  the  third  Inversion  (Art.  328,)  the 
Base,  instead  of  descending  a  Semitone,  descends  a 
Fourth  to  the  Tonic,  and  another  part  takes  the  Reso- 
lution ; 


333.  A  more  unusual  license  is  taken  in  the  follow- 
ing Example,  from  what  are  called  Haydn's  Sonatas, 
Op.  40,*  where  the  Base  descends  to  the  Root  hy  the 
contrary  motion,  and  the  Seventh  is  resolved  by  the 
intermediate  part,  as  shown  by  the  Direct. 


*  The  two  first  of  these  three  Sonatas  were  composed  by  Pleyel, 
and  only  the  last  in  G  by  Haydn. 


HARMONY. 


125 


334.  The  same  Base,  in  respect  of  the  letters^  but 
in  the  direct  motion  (which  may  be  found  in  some  at- 
tempts at  Composition,)  is  decidedly  false  and  un- 
grammatical  (as  at  A  ;)  although  the  very  same  Melo- 
dy, on  the  Tonic  Base  continued  (as  at  B,)  is  frequently 
and  very  properly  employed. 


(A) 


(B) 


335.  Not  only  the  Positions  of  the  Dominant  Sev- 
enths may  be  changed,  but  the  Inversions  also  may 
succeed  each  other,  previous  to  its  Resolution.  Great 
care,  however,  must  be  taken,  in  the  arrangement  of 
the  parts,  to  prevent  transgressing  the  rules  given, 
(Art.  302.) 

33d  I.  The  first  Inversisn,  or  Chord  of  the  Fifth 
and  Sixth,  resolves  by  the  Base  ascending  a  Semitone, 
as  in  the  following  Example  (as  at  A.) 

II.  The  second,  or  Chord  of  Third  and  Fourth,  re- 
solves by  the  Base  descending  a  Tone  (as  at  B  ;)  and, 

III.  The  third,  or  Chord  of  Second  and  Fourth,  re- 
solves by  the  Base  descending  a  Semitone  (as  at  C.) 


_   (A]_ 



(B| 



__(£)_ 

.— . 

—*WZZ 

-a-— 

— m- — 

— m- — 

-# — 

_a 

:zzz=zs: 


6~~ 


126  MUSICAL  GRAMMAR. 

337.  The  other  Sevenths  (Art.  319,)  when  used  in 
Sequences,  have  similar  Inversions ;  and  the  same 
method  of  Resolution  is  generally  applicable  to  them 
all. 


Sect.  IV. — Or  Modulation.  ' 

338.  As  all  changes  of  Key  are  known  decidedly  by 
the  use  of  the  Dominant  Seventh,  the  different  Modu- 
lations from  both  Scales  will  be  now  explained. 

Modulation  from  the  Major  Scale. 

339.  I.  To  the  Scale  of  its  Subdommant.  The 
principal,  and  most  simple  change  of  Key,  is  that  which, 
by  adding  a  Minor  Seventh  to  the  Tonic,  makes  it  a 
new  Dominant ;  and  hence  the  Subdominant  becomes 
a  new  Tonic  ;  thus, 


340.  This  Modulation  being  continued,  forms  a  cir- 
cle of  descending  Fifths  (or  ascending  Fourths,)  of 
which  the  following  series  is  part: 

■fe-7__  __-^_7 _§7 

bj_  bZ_  J>1_ 

341.  II.  To  the  Scale  of  its  Dominant  The 
second  change  is  that  which,  by  retaining  the  Octave 
of  the  Tonic  itself,  as  a  Seventh,  and  by  making  the 
Base  ascend  a  Tone  in  gradation,  descends  from  the 
Supertonic  to  the  original  Dominant ;  thus, 


HARMONY. 


127 


' » 

342.  This  Modulation  being  continued,  forms  a  cir- 
cle of  descending  Fifths  (or  ascending  fourths,)  of 
which  the  following  series  is  part : 

7                                 7  7 

f  _S_ * 


3-:iEEEzEaigriE«E3|E=z;:3 

343.  These  two  Modulations  are  in  continual  use  ; 
the  last,  or  Dominant  change,  in  the  former  part  of  a 
Movement;  and  the  first,  or  Subdominant  change,  to- 
wards the  conclusion,  to  restore  the  original  Tonic. 
The  Subdominant  Modulation  only  requires  two  Roots, 
but  that  of  the  Dominant  requires  three. 

344.  III.  To  the  Scale  of  the  Submediant  or  Rela- 
tive Minor.  The  third  change  is  that  in  which  the 
Base  rises  from  the  Tonic  to  the  Mediant;  and,  mak- 
ing that  a  new  Dominant,  by  the  addition  of  the  Sev- 
enth, descends  to  the  Relative  Minor  Tonic. 


mi 


345.  A  similar  Modulation  being  continued,  forms 
a  circle  of  Keys,  in  which  the  Major  and  Relative  Mi- 
nor succeed  each  other  alternately,  and  of  which  the 
following  series  is  part : 

7,7  7 


Stlzzz 


128  MUSICAL  GRAMMAR. 

This  Modulation  requires  four  Roots,  previous  to 
the  alteration  of  its  Signature  ;  but  the  sudden  addi- 
tion of  the  Seventh  (especially  after  the  Minor  Tonic,) 
is  rather  harsh  and  unexpected. 

346.  IV.  To  the  Scale  of  the  Mediant,  or  Relative 
Minor  of  the  Dominant.  The  fourth  change  is  that 
which,  through  a  previous  Modulation  into  the  Domi- 
nant, makes  the  original  Mediant  a  Tonic  ;  thus, 

#   I 


347.  V.  To  the  Scale  of  the  Supertonic,  or  Rela- 
tive Minor  of  the  Subdominant.  The  fifth  change  is 
that  which,  by  making  the  Submediant  a  Dominant, 
forms  a  new  Scale  on  the  Supertonic  ;  thus, 


m 


348.  This  change,  although  apparently  simple,  is  in 
reality  very  remote,  as  before  observed,  Art.  309,  and 
will  be  hereafter  more  particularly  considered. 

Modulation  from  the  Minor  Scale. 

349.  I.  To  the  Scale  of  its  Subdominant.  The 
principal  change,  like  that  in  the  Major  Mode  (Art. 
339,)  is  made  by  adding  a  Seventh  to  the  Tonic,  and 
sharpening  its  Third,  to  form  a  new  Dominant;  thus, 


350.  II.  To  the  Scale  of  its  Dominant.  The  second 
change  requires  an  additional  Harmony  (borrowed 
from  the  Sequence  of  Sevenths*)  to  alter  its  Signature, 
previous  to  the  use  of  the  new  Dominant;  thus, 

*  This  will  be  more  fully  explained  hereafter. 


HARMONY. 


129 


351.  III.  To  the  Scale  of  its  Mediant  or  Relative 
Major.  The  third  change  is  made  by  the  reversed 
Gradation,*  or  the  descent  of  a  Tone  ;  thus, 


,s a. : 

352.  IV.  To  the  Scale  of  its  Submediant.  The 
fourth  change  adds  a  Seventh  to  the  Mediant,  as  in 
the  Minor  Modulation  before  given,  Art.  345. 

b? 


353.  V.  To  the  Scale  of  its  Seventh.  The  fifth 
change,  which  is  very  unusual,  is  made  from  the  ori- 
ginal Subdominant  with  a  Major  Third  ;  thus, 

7 

__* 

—  =  7$— ZZ-——^.- 

354.  Although  no  Modulation  is  complete  without 
the  use  of  the  Dominant  Harmony,  which  contains  al- 
ways one,  and  in  the  Major  Mode  both,  of  the  charac- 
teristic Notes  of  the  New  Scale,  (see  Articles  261,  and 
315;)  yet  the  order  in  which  this  Harmony  is  given  in 
the  foregoing  Examples,  is  not  in  all  cases  necessary 
to  be  observed. 

355.  Modulations  are  continually  formed  from  one 
Scale  to  another,  by  means  of  Tonic  Harmonies  alone  ; 
but,  in  those  instances,  it  is  proper  to  introduce  the 
new  Dominant  as  soon  as  possible,  to  decide  the  Key  ; 


Shield.    Diatonic  Succession  of  Chords.     Holden.    Rameau. 
12 


130  MUSICAL  GRAMMAR. 

otherwise,  the  equivocal  effect  before  adduced,  (Art. 
304,)  would  frequently  occur. 

356.  The  limits  of  the  present  Work  will  not  allow 
a  more  extensive  consideration  of  this  important  branch 
of  Harmony.  The  changes  here  given  are  the  founda- 
tion of  all  regular  Modulation  ;  and,  in  the  Chapter  of 
Licenses,  a  more  ample  explanation  of  irregular  Modu- 
lation will  be  found. 


CHAP.  III. 
OF  DISCORDS. 

Art.  357.  Discords  are  used  in  Harmony,  either  by 
Transition,  Suspension,  Syncopation,*  or  Addition. 

Sect.  I. — Discords  or  Transition. 
358.     Any   Note  which  passes  by  one  Degree  be- 
tween the  other  Notes  of  the  Triad,  forms  a  Discord  of 
Transition  ;    and,   if  found   on   the  weak  part  of  the 
Measure,  is  termed  a  passing  Note. 

(Handel,  4th  Sonata.) 

The  following  radical  Base  shows  which  are  the  Dis- 
cords of  regular  Transition,  and  which  are  Concords, 
in  the  preceding  Example. 

*  The  Discords  of  Suspension  and  Syncopation  must  be  regularly 
prepared,  struck,  and  resolved  (Art.  318;)  but  those  of  Transition 
and  Addition  require,  as  their  names  imply,  no  preparation. 


HARMONY.  131 

359.  The  Notes  of  irregular  Transition  are  found 
on  the  strong  parts  of  the  Measure,  and  are  called  by 
the-Germans,  Changing  JVotes,  (Art.  106.) 

In  the  following  Example,  a  particular  instance  of 
irregular  Transition  occurs. 

(Overture  to  the  Messiah.) 


iEHEtiE|E3EF=  F?^»HE 


The  last  Note  but  one  (viz.  the  F  sharp)  is  here 
taken  as  a  Discord  by  irregular  Transition,  which  the 
radical  Base  placed  below  demonstrates. 

360.  The  Notes  of  regular  and  irregular  Transition 
are  intermixed  in  the  following  passage. 

(Thus  saith  the  Lord.*) 

—fci&E=tt3 

361.  In  Modern  Music,  all  the  Discords  of  Transi- 
tion may  be  reduced  to  Appoggiaturas  or  After-notes 
(Art.  105.)  Thus,  the  Quavers  in  the  following  Phrase 
may  be  turned  into  Crotchets  preceded  by  Appoggia- 
turas. 

*  Messiah,  Dr.  A.  Xo.  6. 


132 


MUSICAL  GRAMMAR. 

(PleyeVs  Sonata  1 ,  to  the  Queen.) 
Rondo. 


§35111! 


362.  The  reduction  of  this  Phrase  shows  the  real 
Notes  of  the  Harmony,  and  explains  the  nature  of  ir- 
regular Transition,*  in  which  Appoggiaturas  are  al- 
ways employed. 


363.  When  the  Notes  of  Transition  are  prolonged, 
they  appear  as  integral  parts  of  the  Harmony,  and  are 
sometimes  markedf  with  the  figures  of  Thorough  Base ; 
thus, 

(Corelli,  Concerto  8th,  Dr.  Pepusch's  edition.) 

•       aaa      (  ■  ' 

-fez*™  ~ :^=zzzz^zzzzi  pfczzrq 

tt2-    fcfcfc!     fcfcfcT 

4> 

_  2_ 


se|e: 


*  Morley  observes  concerning  Passing  Notes,  that  "  it  is  impossi- 
ble to  ascend  or  descend  in  continual  Deduction  without  a  Discord  ;" 
but  he  seems  to  condemn  those  which  are  now  termed  Discords  of  ir- 
regular Transition.  See  some  excellent  remarks  on  these  Discords 
in  Dr.  Burney,  ii.  462. 

|  A  stroke  also  drawn  over  the  Notes,  instead  of  the  figures,  is 


HARMONY.  133 

These  two  intermediate  Notes  between  the  Tonic 
and  the  Dominant  descending,  are  Discords  of  regular 
and  irregular  Transition.  They  are  explained  b~y  an 
After-note  and  an  Appoggiatura,  as  in  the  following 
Example  ; 


\zh~-pz^-iz- 


3— 


SEfeSfeS 


364.  The  same  Base  Passage  (a  Semitone  lower  in 
D  Major)  is  employed  by  Handel ;  in  which  the  Notes 
are  not  transient  but  each  be'ars  its  own  proper  Har- 
mony, according  to  the  reversed  Gradation  from  the 
Dominant.* 


(Hallelujah — Messiah.) 


365.  In  passages  of  double  Transition,  particularly 
when  regular,  the  slow  time  of  the  Note  does  not  af- 
fect the  Harmony  of  the  Root,  as  in  the  second  Meas- 
ure of  the  following  Example  : 


used  as  a  mark,  to  show  the  continuance  of  the  first  Harmony.  Eman- 
uel Bach  (Versuch,  2d  Part,}  has  proposed  several  methods  of  dis- 
tinguishing the  Notes  of  irregular  Transition  from  those  of  the  Har- 
mony. He  prefers  the  oblique  stroke  ;  a  specimen  of  which  may  be 
seen  in  Heck.  Mr.  Kollmann  (Essay  on  Harmony,}  has  explained  the 
two  kinds  of  Transition  in  the  class  of  Accidental  Chords. 

*  The  Hypodiatonic  Cadence  of  Mercadier  de  Belesta  (1776;)  a 
progression  which  will  ever  remain  classical,  notwithstanding  the  ob- 
jection of  M.  La  Borde,  and  his  remarks  upon  Iff.  Levans,  iii.  646, 
654.    (See  also  Lampe's  Thorough  Base  (1737.) 

12* 


134  MUSICAL  GRAMMAR. 

(He  was  bruised — Messiah.) 

I        f_  I    6'  5    b!    8 

tr  3  tr  b 

366.  In  this  passage,  the  Harmony  of  D  flat  is  suc- 
ceeded by' that  of  F,  and  the  transient  Fourth  and 
Sixth  are  unnoticed  in  the  radical  Base. 


Sect.  II. — Discords  of  Suspension,* 
I.     Of  the  Fourth.] 

367.  The  Fourth,  accompanied  with  the  Fifth  and 
Eighth,  is  an  Appoggiatura,  continued  in  the  place  of 
the  Third,  on  the  strong  part  of  the  Measure.    It  is 

generally  prepared,  and  is  resolved  by  descending  one 
►egree. 

*  While  Rameau,  in  France  (1722,)  was  confusing  his  System  with 
a  false  Theory  of  these  Discords,  Fux,  at  Vienna  (1725,)  explained 
them  in  a  few  words,  as  simple  Retardations  of  the  following  Note: 
"Notas  ligatas  haudaliud  esse,  quam  Notje  sequentis  Retardation- 
em." 

t  This  Chord,  under  the  title  of  eleventh  Heteroclite,  (that  is,  used 
only  in  part,  or  in  an  imperfect  state,)  makes  a  conspicuous  figure  in 
the  Theory  of  Rameau. 


HARMONY. 

(Corelli,  Concerto  10.J 


135 


4-3 


4-3 


iE|=iEfj||=E;|E|EgE:|E 


368.  It  has  two  Inversions,  viz.  the  Second  and 
Fifth,  which  suspends  the  Sixth  (Art.  295.)  and  the 
Fourth  and  Seventh,  which  suspends  the  Fourth  and 
Sixth,  (Art.  298,)  the  two  Inversions  of  the  Triad. 


1st  Inversion, 


2d  Inversion. 


:— 3z£= d— }r,^z*ri=:=~d:rr  :r: 


1.6 


A 


rri — z~{r*^~*    j" ^y  i p 


II.     Of  the  Ninth. 

369.  The  Ninth,  accompanied  with  the  Third  and 
Fifth,  is  an  Appoggiatura,  continued  in  the  place  of 
the  Eighth.  It  is,  like  the  Fourth,  generally  prepared, 
and  always  resolved.* 

*  The  intermixture  of  the  Discords  of  Suspension  with  those  of 
Transition,  is  beautifully  exemplified  in  the  opening  of  Pergolesi's 
Stabat  Mater.     (See  Mr.  Shield.) 


136 


MUSICAL  GRAMMAR. 


(Corelli,  Concerto  10th.) 


370.  The  double  Suspensions  of  the  Fourth  and 
Ninth,  and  of  the  Seventh  and  Ninth,  frequently  occur. 
An  early  example  is  found  in  Carrissimi.* 


:i:grz--: 


— 1_ 


i 


9  8 

4  6 


©- 

-e- 

8 

6 


371.  The  Chord  of  the  Ninth  has  two  Inversions  ; 
one  figured  with  a  Seventh,  followed  by  its  Resolution 
the  Sixth,  on  the  Third  of  the  Root;  the  other  figured 
as  Fifth  and  Sixth,  on  the  Fifth  of  the  Root. 

372.  The  following  Tonic  Pedal  or  Organ-point,  is 
a  very  important  study  for  the  Chords  of  Suspension/}- 

*  See  his  "Plorate  filiae  Israel,"  printed  in  Kircher,  i.  604.  This 
passage  is  also  used  by  Corelli,  and  by  Handel,  in  Samson,  "  Hear 
Jacob's  God,"  &c.  Dr.  B.  iv.  146.  Sir  J.  H.  iv.  92.  La  B.  iv.  460. 
(See  also  Rameau.) 

f  The  Abbe  Roze  (see  La  Borde,  torn.  iii.  p.  476)  shows  clearly 
that  these  passages  form  a  species  of  Supposition,  in  which  the  Hold 
ing  Note  is  not  considered  in  the  Radical  Base,  art.  9. 


HARMONY. 


137 


(  0  the  pleasure  of  the  plains.*) 

::|EEzeEff:|z^|=|g:|^E^ 


III.     O/'iAe  Appoggiaturas  of  Suspension. 

373.  Although  every  Note  of  Suspension  may  be 
reduced  to  an  Appoggiatura,f  yet  in  modern  Music, 
some  Notes  are  more'particularly  used  as  such  than 
others,  and  differ  from  those  just  described  by  greater 
freedom  in  their  resolution. 

374.  Any  part  of  the  Dominant-  Seventh  may  be  re- 
tained on  the  Tonic  Base,  and  afterward  proceed  ac- 
cording to  its  proper  motion,  (Art  331.) 

375.  The  Ninth  alscfmay  resolve  by  ascendingjnto 
the  Tenth,  and  the  sharp  Seventh  (or  leading  Note) 
must  resolve  by  ascending  into  the  Eighth. 

376.  In  this  ascending  Resolution  of  the  Dominant 
Seventh,  the  figure  of  the  suspended  Ninth  often  be- 
comes a  Second  ;i  thus, 

*  Acis  and  Galatea.  Dr.  A.  No.  28.  See  a  similar  passage  in  the 
celebrated  air  of  Vinci — "  Vo  solcando  un  mar  crudele."  The  re- 
marks of  Tartini  are  also  important. 

t  The  opinion  of  Emanuel  Bach  is  very  decisive  on  this  subject ; 
he  even  agrees  with  Fax,  <fcc.  that  all  Ligatures  and  Dissonances 
mav  be  reduced  to  Appoggiaturas. 

"".Man  kann  alle  Bindiingen  and  Dissonantienauf  diese  Vorschlage 
zuruck-fuhren." — Versuch,  p.  45. 

This  is,  however,  extending  the  term  somewhat  too  far,  as  the  es- 
sential Sevenths  of  Kirnberger.  which  are  used  in  the  Sequence  of 
descending  Fifths  (Art.  333,)  carmot  he  considered  as  Appoggiaturas 
(Verschlage,)  although  thev  are  hound  by  the  Ligature  (Bindung.) 

%  In  Modern  Music,  the" whole  Harmony  of  the  Dominant  is  often 
retained  in  the  place  of  the  Tonic,  and  the  radical  Base  Note  of  the 
Tonic  itself  suspended  till  the  latter  part  of  the  Measure.  This  will 
be  further  explained  in  treating  of  the  Ceesure. 


138 


MUSICAL  GRAMMAR. 


7  8 
4  3 


7  8 
2  3 


7  8 

ft 


IgliiliflEllH 


377.  In  Diatonic  Sequences,  as  will  be  shown  here- 
after, every  Note  of  the  Scale  may  bear  single  or 
double  Suspensions. 

All  these  Notes  are  nothing  more  than  the  retarda- 
tion or  retention  of  a  Sound,  longer  than  the  duration 
of  its  own  Root,  upon  a  new  radical  Base.* 

I  V.     Of  Anticipation,]  <^c. 

378.  When  a  Note  is  diminished  by  half  its  value, 
and  the  following  Degree  employed  to  fill  up  its  time 
upon  the  former  Base,  such  change  is  termed  Anticipa- 
tion. These  anticipated  Notes  are  considered  wholly 
as  relating  to  Melody,  and  are  not  noticed  by  the 
figures  of  Thorough  Base. 

(A)  (B)  (C) 

iiiiir'iliilli 

.drq 

2 


379.  In  the  foregoing  example,  taken  from  the 
Lexicon  of  KochJ  (article  Vorausnahme,)  the  first 
Measure  (A)  contains  the  simple  Notes;  the  second 

(B)  shows  the  Anticipation  in  Quavers  ;  and  the  third 

(C)  repeats  the  same  Anticipation  in  syncopated  Notes. 

*  That  peculiar  effect  which  is  produced  from  an  internal  Melody 
by  the  employment  of  Suspension,  has  been  well  described  by  Rous- 
seau, art.  Unity  of  Melody.  In  this  valuable  article,  while  he  wishes 
to  exalt  his  favorite  branch  of  Music,  Melody,  at  the  expense  of  Har- 
mony, he  actually  proves  the  superiority  of  the  latter,  and  praises 
those  beautiful  effects  which,  without  Harmony,  could  not  exist." 

t  The  term  Anticipation  is  used  in  a  different  sense  by  Heck. 

%  Anticipations  are  considered  by  Koch  as  After-notes,  which  may 
be  tied  on  to  the  chief  Note  of  the  following  Melody. 


HARMONY 


139 


380.  The  Postpositions  of  Dr.  Pepusch.*  are  in 
reality  nothing  more  than  irregular  Suspensions,  being 
the  reverse  of  the  Anticipations,  and  used  in  the  fol- 
lowing manner: 


381.  Many  other  Chords  of  Suspension  may  be 
formed,  by  combining  all  the  preceding  in  different 
ways.  Hence  arise  the  Second  and  Third,-f  the  Sixth 
and  Ninth,  &c. ;  which  may  be  found  in  Bamberger, 
Kollmann,  Shield,  &c. 


Sect.  III. — Discords  of  St>copatio>\ 

382.  The  Discords  of  Syncopation.!  only  differ  from 
those  of  Suspension^  by  constituting  part  of  the  radical 
Harmony,  and  by  not  being  merely  Appoggiaturas. 

383.  "The  Diatonic  Sequence  of  Sevenths,  is  one  of 
the  principal  passages  in  which  these  Discords  are  used. 


«— -i -~-t 

. 7r!_±__.Q__ 


■ 6- 

©- 


mm 


yE"E;?Ei:t=lEJt;EiiE-Jfe 


*  Treatise  on  Harmony,  1731.  "Postposition,  or  Retardation  of 
Harmony,  is  the  putting  a  Discord  upon  the  accented  part  of  the  Bar, 
followed  by  a  Concord  on  the  next  unaccented  part,  but  not  prepared 
and  resolved  according  to  the  rules  for  Discords."  Example  130, 
131,132. 

t  This  Chord,  which  arises  from  a  Suspension  of  the  Base,  is  de- 
scribed by  Emanuel  Bach,  Heck,  and  Shield. 

t  The  "term  Syncope  or  Syncopation,  signifies  the  division  or  cutting 
through  a  Note  by  a  Bar,  or  Accent  expressed  or  understood. 

§  The  term   Suspension  is  used  in  its  most  extensive  sense  in  a 


140  MUSICAL  GRAMMAR. 

384.  The  German  Authors,  previous  to  the  writings 
of  Kirnberger  (1774,)  seem  to  have  classed  the  Dis- 
cords of  Suspension  with  those  of  Syncopation;*  but 
his  arrangement  of  Chords,  into  essential  and  acciden- 
tal, establishes  that  difference  between  them  which  is 
adopted  in  this  Work. 


Sect.  IV. — Discords  of  Addition. 

385.  When  any  Discord  which  has  not  been  heard 
in  the  preceding  Harmony,  is  united  to  the  perfect 
Triad,  it  is  termed  in  this  Work  a  Discord  of  Addition.] 

386.  The  Discords  of  Addition  are  the  Seventh,  the 
Ninth,  both  on  the  Dominant ;  and  the  Sixth  on  the 
Subdominant ;  these  are  particularly  useful  in  distin- 
guishing those  two  Harmonies  from  that  of  the  Tonic. 

I.     Of  the  added  Seventh. 

387.  The  whole  Second  Chapter  of  this  Part,  re- 
lates to  the  Dominant  Seventh,  particularly  Art.  317, 
where  the  difference  between  the  added  and  the  tran- 
sient Seventh  is  shown.  The  third  Section,  treats  of 
its  Resolution ;  which  term  is  equally  applied  to  the 
descent  of  the  Seventh,  Avhether  used  by  Transition, 
Suspension,  Syncopation,  or  Addition. 

II.     Of  the  added  Sixth. 

388.  As  the  Dominant  Harmony  is  distinguished 
from  that  of  the  Tonic  by  its  added  Seventh,  so  the 
Subdominant  is  distinguished  from  the  Tonic,  and  from 
the  Dominant  by  its  added  Sixth.J 

former  article  (Art.  317,)  for  the  purpose  of  showing  the  difference  be- 
tween prepared  and  unprepared  Discords. 

*  Heck  places  them  together ;  and  Heck  was  well  versed  in  the 
Musical  Literature  of  Germany. 

t  The  Discords  of  Addition,  although  implied  in  the  writings  of 
Morley,  Simpson,  Pepusch,  &c.  were  not  fully  established  until  Mr. 
Holden's  Essay  appeared  in  1770.  The  term  Addition  is  now  adopt- 
ed in  France  by  M.  Langle  (1801,)  but  in  a  less  extensive  sense. 

X  Theorists  are  divided  in  their  opinions  concerning  the  Root  of 
this  Chord  ;  but  a  great  majority  of  Authors  are  in  favor  of  its  deriva- 
tion from  the  Second  or  Supertonic  of  the  Key.     (See  Shield,  &c.) 

Rameau  seems  to  have  been  the  first  who  classed  it  as  a  theoretical 
Chord  ;  but  Morley  gives  a  specimen  of  its  practical  use,  and  even 
allows  it  in  Counterpoint  where  Concords  are  chiefly  employed.  Hol- 
den  follows  D'Alembert  and  Serre,  and  inclines  to  the  doctrine  of 
Double  Fundamentals.  Marpurg  and  Kirnberger  unite  in  rejecting 
this  Chord  as  an  addition,  and  both  censure  Rameau. 


HARMONY. 


141 


389.  Whenever  the  Melody  of  a  single  part  (as  at 
A,)  or  the  Harmony  of  the  whole  (as  at  B,)  requires  it, 
the  Subdominant  may  have  its  own  Sixth  (or  Super- 
tonic  of  the  Scale)  added  to  its  Triad. 


(a; 


(A) 


mmmmiimm 


Sixth  added  for  the  .Melody. 

,n       m^ 

I  o 


Sixth  added  for  the  Ha? 


390.  The  Fifth  and  Sixth  on  the  Subdominant  may 
be  prepared  by  the  Tonic,  by  the  Submediant,  or  by 
the  Dominant,*  as  radical  Bases  ;  thus, 

izzszzlzisiz    zigzlzsz    ziizlzgiz 


^eIeIP 


z:d: 


e— 


By  the  Tonic. 


Bv  the  Submediant.     Bv  the  Dominant. 


*  The  preparation  of  the  added  Sixth  by  the  Dominant,  is  found 
in  the  final  Cadence  of  Steffani's  Motet,  Glui  diligit. 

13 


142 


MUSICAL  GRAMMAR. 


391.  This  Discord  may  resolve  two  ways,  viz.  into 
the  Tonic  (on  its  second  Inversion,)  or  into  the  Domi- 
nant Harmony.* 


Added  Sixth. 


Tonic. 


Added  Sixth.      Dominant. 


392.  The  Inversions  of  this  Harmony  are  seldom 
used  ;  one  instance,  however,  occurs  in  Handel's  Over- 
ture to  Esther. 


£3         S3§  S3 , 


393.  When  this  Harmony  appears  in  the  form  of  a 
Seventh  on  the  Supertonic,  it  frequently  constitutes 
part  of  the  Diatonic  Sequence  of  Sevenths,  and,  as 
such,  may  be  accounted  radical,  like  the  diminished 
Triad  of  Kirnberger. 


*  Rameau  has  resolved  it  also  into  the  Tonic  Base,  as  an  irregular 
Cadence.    See  also  Play  ford,  (1700.) 


HARMONY. 


143 


!lJ5S^rlSj§3Sii 


::B 


i     i 

7     7 


n- 


-Q- 


mmmm 


:zip:iz: 


394.  Rameau*  estimates  the  Root  of  the  Harmony 
by  its  Resolution,  calling-  it  D  when  followed  by  G, 
and  F  when  followed  by  C.  Heckf  considers  it  as  a 
compound  of  both  the  Harmonies  of  D  and  of  F.  Dr. 
Boyce  (in  his  MSS.)  and  with  him  the  Anthor  of  this 
Work,  thinks,  that  the  Root  is  decided  by  the  Scale  of 
the  Key  in  which  it  is  found  ;  thus, 


mwmmimsm 


D  in  A  Minor. 


F  in  C  Major. 


395.  Koch,  in  his  Lexicon,  (art.  Verbindungs  Ac- 
cord,) has  placed  his  accidental^  Harmonies  in  a  dif- 
ferent point  of  view.  He  considers  them  as  connecting 
Chords,  and  seems  to  agree  with  Kirnberger,§  who  as- 

*  Rousseau,  Art.  Double  Emploi. 

|  Heck  says,  "The  ascending  Fourth  of  the  Scale  bears  its  own 
natural  Harmony  with  an  additional  Sixth,  in  order  to  prepare  the 
succeeding  Fifth,  and  is  thus  compounded  of  two  Common  Chords, 
that  of D  and  F." 

%  Koch  terms  the  three  Harmonies  of  the  Key  essential,  and  the 
three  relatives  accidental.     (See  before,  Art.  305.) 

§  See  Kirnberger  (die  wahren  Grundsatze.) 

Heck  thinks  that  the  Seventh  used  by  Transition  (as  in  this  pas- 
sage) does  not  resolve  at  all. 

Keeble  also  has  accounted  for  this  Seventh  in  a  similar  manner, 
under  the  name  of  Extension. 


144 


MUSICAL  GRAMMAR. 


serts  that,  by  a  species  of  Transition,  the  Harmony  of 
the  Triad  is  thus  united  to  another  of  its  Inversions. 


=*£E%E 


-l — 


s (9 


«^ 1_ 

In  these  Examples,  the  middle  Harmony  is  said  to 
pass,  or  to  be  wholly  transient. 

396.  Which  of  these  opinions  is  nearest  the  truth, 
the  Author  does  not  at  present  presume  to  decide ; 
but  the  consideration  of  the  Minor  Mode  with  the  im- 
perfect Fifth  on  its  Supertonic  B,  authorizes  him  to  as- 
sert, that  the  system  which  makes  that  Note  a  radical 
Base,  cannot  be  true. 

A  Minor. 


* 


llililliiiii 


III.     Of  the  added  Ninth* 
397.    When  to  the  Chord  of  the  Dominant  Seventh, 
the  Ninth  is  also  joined,  a  Chord  of  five  Sounds  is 
formed.     It  rises  from  the  Root  by  regular  Thirds,f  in 
the  following  manner : 

*  M.  Langle  (Nouvelle  Methode  pour  chiffrer  les  Accords,  Paris, 
1801,)  has  completely  overthrown  the  doctrine  of  Rameau  concern- 
ing Supposition,  and  the  absurdity  of  imagining  Sounds  under  a  fun- 
damental Base. 

t  The  construction  of  all  Chords  by  uniting  Thirds,  was  a  favorite 
notion  of  Rameau's  :  it  has  had  some  success  ;  but  the  simplicity  of 
Kirnberger's  system  of  Suspension  has  evinced  its  fallacy,  particular- 
ly in  the  Chords  of  the  Fourth  and  Ninth.  Marpurg  extended  it  be- 
yond the  Chord  of  the  Eleventh  to  that  of  the  Thirteenth;  but  it  will 
not  be  easy  to  find  examples  to  justify  any  addition  after  the  Ninth. 


HARMONY.  145 

-©-  -©- 

In  C  Major.  In  A  Minor. 

398.  This  Harmony  being  generally  used  in  four 
parts,  the  radical  Base  is  commonly  omitted ;  for  the 
leading  Note  is  always  sufficiently  powerful  to  guide 
the  ear  to  its  proper  Root.  In  this  form,  the  two 
Chords  have  been  already  described,  Art.  32*2,  and  323. 

399.  The  added  Ninth*  of  the  Dominant  is  really 
the  Submediant  of  the  Scale,  or  Sixth  from  the  Tonic  ; 
it  is  consequently  Major  in  the  Major  Mode,  and  Minor 
in  the  Minor  Mode.  Thus,  although  there  is  but  one 
added  Seventh,  there  are  two  added  Ninths. 

400.  The  omission  of  the  Root  forms  a  Chord  of  the 
Seventh  (Art.  322,)  on  the  Leading  Note,  which  may 
be  known  from  the  other  Sevenths  (either  of  the  Se- 
quence or  of  Suspension)  by  its  resolution  into  the 
Tonic.  It  may  sometimes  be  prepared,  but  is  general- 
ly used  without  preparation. 

7  7 

Prepared.  Unprepared. 

401.  None  of  the  Inversions  of  this  Seventh  are 
employed  in  the  Major  Scale,  but  all  are  used  in  that 
of  the  Minor. 

*  Mr.  Kollmann  (Essay  on  Harmony.)  terms  this  Ninth  a  Suspen- 
sion of  the  original  fundamental  Note.  Such  is  also  the  System  of 
Kirnberger;  but  the  Nomenclature  is  defective,  since  the  above  Har- 
mony is  used  generally  without  preparation,  and  in  some  instances 
actually  rises  from  the  Dominant  by  thirds.  See  Handel's  Chorus  in 
Israel  in  Egypt — "  The  people  shall  hear,"  at  the  words,  ':  till  thy  peo- 
ple pass  oxer.'''' — See  also  the  opening  of  Haydn's  celebrated  Overture 
in  D,  composed  for  Bach  and  Abel's  Concerts  ;  where,  upon  a  Domi- 
nant Pedal  Base,  the  Fourth  is  suspended,  and  the  Ninth  added. 

13* 


146  MUSICAL  GRAMMAR. 

402.  This  Chord  has  been  considered  as  a  combina- 
tion of  the  Dominant  and  Subdominant  Harmonies, 
since  it  contains  the  B  and  D  of  the  former,  and  the  A 
and  F  of  the  latter,  while  the  resolution  of  D  and  F 
falls  on  the  same  Note.* 

_  _le"__o_  -e-     Q 


Dominant.  Subdominant.  Union  of  both. 

403.  It  is  observable,  that  the  above  combination  of 
Sounds  includes  every  Note  of  the  Scale,  excepting 
the  three  Notes  of  the"  Triad  on  the  Tonic,  and  that  it 
also  decides  the  Mode  of  the  Scale,  since  the  Sixth  or 
Submediant  is  part  of  the  Chord  of  the  Subdominant, 
which  is  Major  or  Minor,  according  to  the  Key  (Art. 
399.) 

404.  The  same  Chord  in  the  Minor  Mode,  consists 
of  three  Minor  Thirds  ;f  and  its  extreme  Notes  are  the 
sharp  Seventh  and  Minor  Sixth  of  the  Scale.  It  is  of 
such  importance  in  modern  Music,  that  it  is  termed  the 
diminished  Seventh  (Art.  3.23,)  or  Equivocal  Chord.  In 
the  resolution  of  its  parts,  it  conforms  to  that  of  the 
Major  Chord  in  the  last  Example  (Art.  402.) 


405.  This  Harmony  has  a  great  advantage  over  the 
former  (Art.  402,)  since  it  decides  the  Key ;  for  the 
Harmony  of  B  with  a  Seventh,  may  be  in  A  Minor  or 
in  C  Major. 

*  This  explanation  of  the  Chord  corresponds  with  the  system  of 
M.  Bemetzrieder,  whose  Calls  (Appels)  are  precisely  the  four  Sounds 
of  this  Harmony.  Lecons  de  Clavecin,  Paris,  1771.  Translation  by 
Bernard,  1778.  The  union  of  these  two  Harmonies,  G  and  F,  is  a 
system  far  more  plausible  than  the  combination  of  D,  and  F  in  the 
added  Sixth  (Art.  394.) 

t  Rameau,  terms  this  Harmony  a  borrowed  Chord,  because  the 
Dominant  "lends  her  Fundamental  to  the  sixth  Note  of  Minor  Keys." 
This  explanation  is  very  obscure,  although  it  is  finally  reducible  to 
the  theory  of  Kirnberger.    (See  Art.  399.) 


HARMONY. 


147 


;«sifp 


i   i 


illillliflltS 


Added  Sixth. 
Radical  Base  D. 


Added  INinth. 
Radical  Base  G. 


Added  Ninth. 
Radical  Base  E. 


But  the  Seventh  of  G  sharp  can  only  be  found  in  the 
Key  of  A  Minor.* 

406.  The  radical  Base  of  this  Chord  may  be  found 
in  extreme  Modulations  by  two  methods. 

I.  By  the  Major  Third  below  the  last  Sharp. 

II.  By  the  Semitone  below  the  last  Flat. 

When  Naturals  occur,  the  observations  concerning 
them  (Art.  97,)  must  be  strictly  regarded. 

407.  This  Chord  is  not  only  considered  as  a  direct 
Harmony,  but  all  its  three  Inversions  are  occasionally 
employed. 


© e 14 

#0 jjEgr 1-| 


#2 


, *s — 3] 

Supposed        First         Second         Third 
Radical.  Inversion.  Inversion.  Inversion. 


408.  .In  those  Keys  where  the  Clef  does  not  agree 
with  the  Modulation,  the  second  Inversionf  requires  a 
Flat  or  Natural  under  the  sharp  Fourth. 

*  See  the  Note  in  the  preceding  page. 

t  The  effect  of  this  Harmony  is  truly  sublime  in  Handel's  Deborah. 
See  the  first  Phorus,  "  immortal  Lord,"  at  the  words,  "  whose  anger, 
when  it  awful  glows." 


148  MUSICAL  GRAMMAR. 

mmmmm 


i     i 


4 

*      b     6 


©- 

P   P     '* 

#*  6 

q. —  r— j— . 


mmmm 


409.  These  two  Chords  of  the  added  Ninth  have 
been  termed  Chords  of  Major  and  of  Minor  Substitu- 
tion;* since  they  are  considered  as  derived  from  the 
Dominant  Seventh,  by  substituting  the  Ninth  in  the 
place  of  the  Eighth. 

They  are  also  styled  Chords  of  borrowed  Harmony ; 
since  the  Seventh  and  Ninth  are  supposed  to  be  de- 
rived or  borrowed  from  the  Subdominant.f 

410.  All  these  Chords  are  liable  to  have  any  of 
their  Sounds  suspended  on  the  following  Tonic  Har- 
mony ;  and  hence  arise  many  figured  Bases,  too  nu- 
merous to  be  inserted  within  the  limits  of  the  present 
Work. 

*  The  Abbe  Roussier  (Traite  des  Accords,  1764,)  seems  to  employ 
the  terms  Substitution  and  borrowed  Harmony  (Emprunt)  as  Synony- 
mes.  Neither  term  is  found,  as  an  article  in  the  Dictionary  of  Rous- 
seau.   (See  Holden.) 

The  principle  of  Supposition,  from  which  Rameau  has  deduced 
these  Chords,  by  placing  Sounds  below  the  Fundamental,  is  now 
(except  in  Pedal  Harmonies)  deservedly  forgotten. 

f  Mrs.  Gunn  (Introduction  to  Music.  1803,)  has  given  thisexplana- 
tion  of  borrowed  Harmony,  which  differs  from  the  original  idea  of  Ra- 
meau, although  it  is  not  inapplicable  to  the  combination.  (See  Art. 
402.) 


HARMONY.  149 

CHAP.  IV. 

OF  CADEJYCES. 

Art  411.  A  Cadence*  in  Harmony  consists  of  two 
distinct  Chords  (the  last  of  which  is  generally  accent- 
ed,) and  is  used  to  terminate  the  Sections  and  Periods 
of  Musical  Rhythm. 


Sect.  I. — Of  Radical  Cadences. 

412.  When  the  Bases  of  both  Chords  are  the  Roots 
of  their  respective  Triads,  the  Cadence  is  termed 
Radical;  and,  of  these  radical  Cadences,  there  are 
four  in  general  use,  the  Perfect,  Imperfect,  False,  and 
Mixt  ;f  to  these  may  be  added  the  Plagal  or  Church 
Cadence,  which  is  only  a  variation  of  the  Imperfect ; 
and  the  Authentic,  which  is  only  the  ancient  term  for 
the  Perfect. 

413.  I.  The  Per/ed  CadenceJ  consists  of  the  Domi- 
nant Harmony,  followed  by  that  of  the  Tonic  ;  thus, 


In  C  Major.  In  A  Minor. 

The  first  or  leading  Harmony  is  always  Major. 

*  The  terra  Cadence  was  formerly  applied  to  the  final  Melody  of  a 
Musical  Close.  See  Morley,  and  Butler.  The  Germans  adopted  the 
Latin  word  Clausula  in  the  same  sense.  See  Walther's  Lexicon,  1732. 

f  See  the  origin  of  the  Cadences  before  explained,  Art.  310. 

X  See  Rameau.  of  the  perfect  Cadence. 


150  MUSICAL  GRAMMAR. 

414.  II.  The  Imperfect  Cadence*  consists  of  the 
Tonic,  followed  by  the  Dominant  without  its  added 
Seventh,  and  is  the  former  Cadence  reversed. 

# 

In  C  Major.  In  A  Minor. 

The  second  or  final  Harmony  is  always  Major. 

415.  III.  The  False  Cadencef  consists  of  the  Domi- 
nant, followed  by  the  Submediant  (in  Diatonic  Grada- 
tion) taken  in  the  place  of  the  Tonic.  In  the  Major 
Mode,  this  Cadence  forms  the  Interval  of  a  Tone  ;  in 
the  Minor  Mode,  only  a  Semitone  ;  and  it  is  used  in- 
stead of  the  perfect  Cadence,  from  which  it  is  derived. 


:|:      -      .*.        -§. 


In  C  Major.  In  A  Minor. 

416.  IV.  The  Mixt  Cadence}  is  the  Direct  Grada- 
tion of  the  Subdominant  to  the  Dominant,  and  is  used 
instead  of  the  imperfect  Cadence,  from  which  it  is  de- 
rived. 

*  This  is  termed  by  Rameau  the  irregular  Cadence,  and  he  wishes 
extremely  to  have  the  Sixth  added  to  the  leading  Chord.  This  fan- 
cied improvement  has  been,  with  great  propriety,  rejected  by  subse- 
quent Theorists.  See  Kirnberger,  Die  Kunst ;  and  Kollmanu,  Essay 
on  Harmony. 

t  The  false  or  flying  Cadence  is  placed  by  Rameau  among  the 
Licenses. 

\  Tartini.  Rameau  has  also  mentioned  another  Cadence,  which 
he  terms  interrupted  (interrompue.)  from  the  Dominant  to  the  Medi- 
ant. (Code  de  la  Musique,  1760.)— Of  this  progression  at  a  Rhythmic 
Close  there  are  few,  if  any,  practical  examples. 


HARMONY.  151 


In  C  Major.  In  A  Minor. 

417.  The  Plagal  Cadence*  only  differs  from  the 
Imperfect  as  to  its  place  in  the  Scale,  being  the  pro- 
gression of  the  Subdominant  to  the  Tonic.  This  is 
used  as  a  final  Cadence  in  Church  Music,  particularly 
in  the  Hallelujah  Chorus,  Messiah,  and  in  the  Corona- 
tion Anthem,  Zadock  the  Priest. 


In  C  Major.  In  A  Minor. 

The  final  Chord  of  this  is  always  Major.f 
418.    The  Authentic  Cadence  is  the  same  as  the 
Perfect  (Art.  413,)  and  is  only  so  termed  in  contradis- 
tinction to  the  Plagal.    (See  Art.  177.) 

*  This  is  the  Cadanza  Ariimetica  of  Taitini.  For  the  etymology  of 
the  terms  Plagal  and  Authentic,  see  Dr.  Barney,  ii.  13.  See  also  the 
Rev.  Mr.  Jones  of  Nayland's  Treatise  (1784;)  and  the  Cadence  he 
alludes  to  in  Dr.  B.   ii.  484. 

f  Hence  arises  the  necessity  of  varying  the  Third  of  the  last  Har- 
mony in  the  Minor  Mode,  and  of  changing  it  to  the  Major  Third. 
Dr.  B.  iii.  114.  See  also  the  observations  of  Mr.  Shield.  Formerly 
it  was  usual  to  terminate  every  piece  of  Music  with  the  Major  Third, 
whatever  might  b«  the  Cadence.     (See  Padre  Martini,  Saggio  1.) 


152 


MUSICAL  GRAMMAR. 


Sect.  TI. — Or  Medial  Cadences. 

419.  When  the  leading  Harmony  of  any  Cadence 
is  not  radical,  but  inverted,  the  Cadence  is,  in  this 
Work,  termed  Medial,  and  is  used  to  express  an  in- 
complete Close. 

420.  I.  Cadence  of  the  Leading  Note.  This  is  the 
first  Inversion  of  the  Dominant,  and  is  used  instead  of 
the  perfect  Cadence.* 


::®=:J=az 


Si^^iES 


421.  II.  Cadence  of  the  Sharp  Sixth.  This  is  the 
second  Inversion  of  the  Dominant,  and  is  sometimes 
used  as  a  final  Cadence  on  the  Tonic,  as  in  Non  Nobis 
Dominie;  but  more  generally  on  the  Sixth  of  the  de- 
scending Scale,  when  it  commonly  bears  a,  suspended 
Seventh. 


422.  III.  Cadence  of  the  Major  or  Minor  Sixth. 
This  is  the  first  Inversion  of  the  mixt  Cadence,  and  is 
chiefly  used  in  the  Minor  Mode.  It  is  also  liable  to 
the  antecedent  Suspension  of  the  Seventh. 


*  See  Examples  of  all  these  Cadences  in  Handel's  Judas  Macca- 
aeus,  "  We  worship  God." 


HARMONY. 


153 


-e- 


□i:Tidz^iZi^:T:z2zj 
— +- e n — +—©-4 


I 
76 


423.  These  Cadences  may  also  become  protracted, 
by  using  other  Harmonies  on  the  Dominant.  Thus  is 
formed  what  Dr.  Pepusch  calls  the  Grand  Cadence.* 


6    o 
4    4> 


g^zzzzziDzzz'.izzzzzji 

424.  To  these  may  be  added  those  deceptive  Ca- 
dences, which,  by  varying  the  final  Chord,  avoid  the 
final  Close. 


6    5 

4    3      6 


S     6 


i  si  as 


*  Godfrey  Keller  (1731,)  calls  the  5th  and  4th  Cadence,  common  ; 
the  6th  and  4th  Cadence  bears  its  own  name ;  and  that  given  in  the 
Example  above,  is  called  the  Great  Cadence.     (See  Dr.  Pepusch.) 


14 


154  MUSICAL  GRAMMAR. 

CHAP.  V. 

OF  SEQUENCES. 

Art.  425.  Any  similar  succession  of  Chords  in  the 
same  Scale,  ascending  or  descending  diatonically,  is, 
in  this  Work,  termed  a  Sequence.* 

426.  All  Sequences  are  particularly  distinguished 
by  the  irregularity  of  making  the  Leading  Note  a  tem- 
porary Root,  to  avoid  Modulation  out  of  the  original 
Scale. 

I.  Of  Dominant  Sequences. 

427.  The  principal  descending  Sequence  is  that  of 
Sevenths  ;f  an  example  of  which  has  been  already 
given  (Art.  383,)  derived  from  the  progression  of  rising 
Fourths  and  falling  Fifths  in  the  Dominant  Motion 
(Art.  312.) 

II.  Of  Mediant  Sequences. 

428.  The  principal  ascending  Sequence  is  that 
known  by  a  5  followed  by  a  6,  on  a  gradual  Progres- 
sion of  the  Diatonic  Scale.  It  is  derived  from  the  Me- 
diant Progression  (Art.  312.) 

In  this,  and  the  following  Examples,  the  Directs 
show  the  Radical  Base. 


56  56  56  56 

*  The  great  distinction  between  a  Sequence  and  a  Modulation, 
consists  in  the  Scale  or  Key  remaining  unaltered  in  the  Sequence, 
and  being  changed  in  the  Modulation.     (See  Art.  303.) 

t  Dr.  Burney  calls  it  a  chain  of  Sevenths.  The  term  Sequence  was 
probably  first  employed  by  Pasquali.  It  is  found  in  Kameau,  in  the 
more  extensive  sense  of  Progression. 


HARMONY. 


]  !  L  I       H 


#/ 

5  6  5  6  5  6 

_ ...jvv1-©- —--^  Q— — -. — — _ 


This  Sequence,  like  that  of  Sevenths,  admits  of  the 
Leading  Note,  as  a  temporary  Root  ;*  and  it  seems  to 
have  been  for  the  sake  of  elucidating  these  passages, 
that  Kirnberger  and  Kollmann  have  admitted  the"  di- 
minished Triad  among  the  consonant  Harmonies. 

III.     Of  Inverted  Sequences. 
429.    The  principal  inverted  Sequences  are  those 
derived  from  the  Sequence  of  Sevenths  ;+  and  of  these, 
the  most  usual  is  that  of  a  7,  followed  by  a  6  on  the 
gradual  descending  Progression  of  the  Scale. 

II  111 

ri      -©-       -€rrj      H  !  I  1 

56  7  6  7  6  7  6 


*  Nothing  but  the  rhythmical  arrangement  of  the  passage,  which 
divides  every  Semibreve  into  two  Roots,  permits  this  departure  from 
the  first  principles  of  Harmony,  viz.  that  every  radical  Base  must 
bear  a  perfect  Fifth  (Art.  291,)  and  that  all  Melodies  belong  to  the 
three  Chords  of  the  Key  (Art.  305.)  These  two  Rules  are  liable  to  no 
exceptions,  except  what  arise  from  the  nature  of  the  Sequences  and 
the  Licenses.  Dr.  Boyce,  in  his  Air  of  "  Softly  rise,"  has  used  this 
Sequence  with  great  effect.     Shield. 

t  This  may  be  considered  as  a  simple  Sequence  of  Sixths,  with 
Suspensions  of  the  Sevenths;  and,  iu  like  manner,  the  ascending 
Sequence  of  Fifth  and  Sixth  may  he  explained  by  Anticipation.  (See 
Art.  37S.)  In  Mr.  Kollmann's  Essay,  the  Sequences  are  thus  ex- 
plained- 


156 


MUSICAL  GRAMMAR. 


tf&E?~zi 


^mmmmmm 


76 


76 


^ 


Atf. 


Atf. 


430.  It  is  not  unusual  in  the  first  Inversion  of  the 
Sequence  of  Sevenths  (that  of  the  Fifth  and  Sixth)  to 
leave  every  other  Harmony  as  a  simple  Triad,  in  the 
following  manner : 


■/Jt!nd 


— pz±=fcgitgzdz±zd=g±zD:fl 

■ —  i — •*--  H-M  -  -1  -©-©-  ■*■-  j-t-  ?-r  x—  ©-J  J 


I      i 


-I9--T— =- 


ItH 


^vc 


M* 


IV.     O/"  Simple  Sequences. 

431.  A  descending  Scale  may  also  be  accompanied 
by  a  simple  Sequence  of  Sixths  alone.  The  Theory  of 
this  Progression  is  involved  in  some  difficulty  ;*  but 
the  uniform  Practice  of  Authors,  both  ancient  and  mo- 
dern, has  established  its  use. 

*  Rameau  observes  of  this  Sequence,  that  Zarlino  expressly  for- 
bids it,  ([nstitu.  Harmoniche,  edit.  1573  ;)  but  its  high  antiquity,  and 
its  great  effect  in  Modern  Music,  renders  it  classical,  notwithstanding 
the  defect  of  the  false  Harmony  on  D,  derived  from  the  imperfect 
Triad  of  B  (Art.  287.) 


HARMONY. 


157 


-9- 


— -©  -  t-h — i-x — i — l-T >n 


6     6 

9-B- 


6     6 


6     6 


aE:E-Hpg=ppp| 


fife 


II 


482.  The  same  series  may  take  place  ascending; 
and  the  effect  is  nearly  that  of  the  Medial  Sequence  of 
5  and  G,  as  the  preceding  series  of  the  descending 
Scale  resembles  the  inverted  Sequence  of  7  and  6. 


mmm 


V.  Of  Compound  Sequences. 
433.  Compound  Sequences  are  those  which,  by  em- 
ploying the  Chords  of  Suspension,  change  their  Har- 
monies on  the  alternate  Base.  Of  these  there  are  va- 
rious kinds ;  one  of  the  principal  is  that  of  descending 
Thirds  with  alternate  Ninths  ;  thus, 


i    i 


-e-e-x-  rs    -e-e- 


_p_  ;p;.e  p       e 


93    93    9    3    93 

14* 


158 


MUSICAL  GRAMMAR. 


434.    These  Sequences  also  may  be  doubly  com- 
pounded, and  then  bear  double  Suspensions. 


i  i 


iiiiiliifglJH 

95  ?     5  9565 

4         3  4     3  7373 


435.    To  these  may  be  added  the  partial  Sequences 
of  two  similar  Harmonies,  frequently  found  in  Handel, 


-eTn-©nT  g-  J  J-SI-+-  °-©-+-  ■©-- 1 J 


iisilifiii 


VI.     Of  Irregular  Sequences. 

436.    It  is  not  unsual  to  find  an  ascending  Scale  ac- 
companied with  7  and  6,  with  9  and  8,  or  with  their 


Compounds 


7  and  6, 


which  form  irregular  Sequen- 


ces.*  These  Chords  belong  regularly  to  a  descending 
Series. 


*  Lampe,  gives  an  example  of  these  Sequences,  in  which,  by  the 
contrary  motion,  the  necessity  of  dividing  the  last  Harmony  is  avoid- 
ed. 


HARMONY. 


<•-•• 


159 


£= 


Le-T-P ® . 


lf|E=E|E?d^E?EE3 


9  8 


9  8 


In  these  Sequences,  the  unaccented  Harmony  must 
be  divided  in  half,  after  the  Resolution  of  the  Dis- 
cord, to  prepare  the  following  one,  as  in  the  antecedent 
Example  ;  the  7th  is  then  prepared  by  the  8th,  and  the 
9th  by  the  10th.* 

*  That  the  present  Classification  cannot  comprehend  all  the  Se- 
quences which  have  been  or  can  be  invented,  is  sutficientlv  obvious. 
(See  Shield.) 


160  MUSICAL  GRAMMAR. 

CHAP.  VI. 
OF  LICENCES. 

Sect.  I. — Of  Pedal  Harmonies. 

Art.  437.  When  the  Dominant  Harmony  is  taken 
unprepared  upon  the  Tonic  Base  as  a  holding  Note, 
whether  preceded  by  the  Tonic  or  by  the  Subdominant 
Harmony,  the  passage  is  termed  a  Tonic  Pedal  or  Or- 
gan Point. 

:EDz|Eg-:3:|::±gEJEdEgHE:DEfl 

tlzIrar^rfrlTgrdrl-^H 
P  -e-    -e-P       i     P       -©- 


7 
In  the  Chord  of  4  the  Dominant  Note  itself  is  gen- 

erally  omitted,  for  reasons  before  given  (Art.  327;) 
and  the  Chord  appears  {independent  of  the  holding 
Base,)  like  that  of  the  sharp  Sixth  on  the  Supertonic. 

438.  When  also  any  Chords,  or  Sequences,  are 
taken  upon  the  Dominant  Base,  as  a  holding  Note,  a 
similar  passage  is  formed  ;  and  the  Base  then  also  be- 
comes a  Dominant  Pedal  Note  or  Organ  Point. 

439.  Net  only  the  simple  Dominant,  but  its  com- 
pound derivative^  the  added  Ninth,  (Art.  397,)  may  be 
taken  on  a  Tonic  Pedal.  Hence  arises  the  Chord  of 
the  Sixth  and  Seventh,  or  the  Thirteenth  of  Marpurg.* 

*  Marpurg's  arrangement  of  Chords,  into  the  Consonant  Triads, 
Dissonant  Triads,  and  Sevenths,  in  the  first  class,  and  into  the 
Ninth,  Eleventh,  and  Thirteenth,  in  the  second  class,  is  clearly  ex- 
plained by  Turk  (General  Base,  1791.) 


HARMONY. 


161 


This  is  used  in  the  Minor  Mode  on  the  Tonic,  and 
sometimes,  by  extreme  License,  on  the  Dominant. 


-:^*su4--n-:r^--:°-:i-*©::33 

-.©—    u.i — Q__j__e_  -i — e--JJ 


-e- 
"O" 


8*7  8 

5      6  * 

440.  Not  only  these,  but  any  other  Chords,  whether 
of  Suspension,  Sequence,  &c.  may  be  taken  on  the 
Tonic,  or  the  Dominant,  as  a  Pedal  Base  ;  and  some 
instances  occur,  in  which  these  Sounds  may  be  retain- 
ed in  a  superior  part,  as  in  the  following  Example  from 
Mozart,  Op.  11. 


Sect.  II. — Or  the  Extreme  Sharp  Sixth. 

441.  When,  upon  the  first  inversion  of  the  mixt 
Cadence  (Art.  422,)  the  Sixth  of  the  Submediant  (or 
fourth  of  the  Scale)  is  accidentally  sharpened,  the 
Chord  of  the  extreme  sharp  Sixth*  is  formed. 

This  Harmony,  when  accompanied  simply  by  the 
Third,  has  been  termed  the  Italian  Sixth. 


*  See  Art.  297. 


Rousseau  asserts,  that  this  Harmony  is  never  in- 
from  a  Passione  of 


occ  -til.   ^  i  .       uuuaacdu     tisccr?.   incti   luis 

verted.     Framery,   (Art.  Accord,)   has   shown,  _ 

— J  we  have  an  example 


vciicu.      riaiuciv,     (_.~jii.    Jiccuru,)     uas     suuvv 

Paisiello,  that  its  inversion  may  be  used  ;  and  ... 

in  Weldon's  Anthem,  "  Hear  my  crying."    Dr.  Boyce,  Cath.  Music. 


1C2 


MUSICAL  GRAMMAR. 


Root  B. 

By  this  alteration  of  the  Fourth,  the  Species  of  Ca- 
dence is  changed,  from  the  first  Inversion  of  the  Mixt 
to  the  second  Inversion  of  the  Perfect,  (Art.  421 ;)  and 
it  is  considered  as  a  License,  because  the  Root  bears  a 
flat  Fifth,  while  at  the  same  time  the  Third  continues 
Major. 

The  radical  Base,  therefore,  of  the  extreme  sharp 
Sixth,  is  the  Supertonic  of  the  Key ;  and  its  Fifth  is 
allowed  to  be  defective,  that  the  original  Minor  Mode 
may  not  be  totally  destroyed. 

442.  When  to  the  simple  combination  of  the  Italian 
Sixth  the  Root  itself  is  annexed,  a  Chord  of  Third, 
Fourth,  and  Sixth  is  formed  ;  and,  as  this  Harmony  is 
only  found  in  the  Theory  of  Rameau,  it  may  be  pro- 
perly termed  the  French  Sixth. 


it 


E:?P:EfE*fE±i 


Root  B. 


443.  A  Harmony  still  more  remote,  but  extremely 
powerful,  is  formed  upon  this  Chord,  by  inserting  the 
added  Ninth  on  the  Root,  as  a  supposed  Dominant  to 
the  real  one. 


HARMONY. 


163 


This  occurs  with  great  effect  in  the  writings  of 
Graun,  &c*  and  therefore  may  be  called  the  German 
Sixth. 


~ ficzf:s:?:©z:: 


Root 


It  requires,  however,  a  continuation  of  its  Third  and 
Fifth  on  the  Dominant  Base  (as  a  new  Fourth  and 
Sixth,)  to  prevent  the  consecutive  Fifths. 


Sect.  III. — Of  Partial  Modulation. 

444.  Whenever  the  Dominant  and  Tonic  of  a  new 
Key  are  employed  without  the  Subdominant  Harmony, 
such  change  constitutes  a  partial  Modulation. 

445.  One  change  of  this  kind  arises  when  the  Sev- 
enth of  the  Major  Mode  is-flattened,  and  the  Modula- 
tion returns  again  through  the  Leading  Note  to  the 
Tonic ;  thus, 


Eigsrai 


*  See  the  example  in  Shield.  The  Music  of  France,  Italy,  and 
Germany,  cannot  be  illustrated  in  a  smaller  compass  than  by  the  use 
of  these  three  Chorda.    The  feebleness- of  the  French  Sixth,  com- 


164 


MUSICAL  GRAMMAR. 


446.     Another  change  towards  the  Dominant  is  also 
frequently  used ;  thus, 


l  I 

I   H  Hi 

.__— ._ T — i — i__#©_y_     y-e--,-^--.-! 
:=:D:=i=^^zI=p=p=i=pzpi|=S:H 


_:£?:_  z2_q_ 


-e 


4     6 


0 


Many  other  changes  occur,  to  the  relative  Minor  (or 
Submediant,)  to  the  Mediant,  to  the  Supertonic,  &c. 
some  of  which  are  peculiar  to  the  Music  of  the  last 
forty  years. 


Sect.  IV. — Of  the  Rule  of  the  Octave. 

447.  It  may  appear  singular  to  class  this  celebrated 
Progression  among  Musical  Licenses  ;*  but,  as  the  de- 
scending Scale  equally  includes  a  partial  Modulation, 
and  rejects  the  original  Subdominant  Harmony,  so  es- 
sential to  the  constituent  parts  of  the  Key  (Art.  305,) 
the  propriety  of  the  classification  appears  obvious  to 
the  Author  or  this  Work. 

448.  When  a  Diatonic  Scale  in  the  Base  is  accom- 
panied with  Harmony  according  to  this  Rule,  the 
Roots,  and  their  Inversions,!  are  thus  intermixed : 

pared  with  the  elegance  of  the  Italian,  and  the  strength  of  the  Ger- 
man, leaves  no  doubt  of  their  superior  excellence.  The  admirable 
genius  of  Graun  knew  when  to  employ  Italian  sweetness,  and  when 
to  change  it  for  German  force. 

*  Rousseau  ascribes  the  invention  of  this  Rule  to  de  Laire,  1710. 
See  his  Art.  Regie  de  V  Octave. 

f  In  the  Minor  Mode,  when  the  accidental  Scale  is  employed,  the 
Sixth  must  be  sharpened. 


HARMONY.  165 

Ascending  Scale. 

:z£ D=e=:=QE^=i— sr.e=z=Q— 
e     6       Q     o    o    .©. 

4  6  6 

3  6  5  6         5 

7  Radical  Base.*  7 


-s 3 ^ — 9 — Q— Q 

449.  The  descending  Scale  makes  a  partial  Modula- 
tion into  the  Dominant,  like  that  given  in  Art.  446. 

Descending  Scale. 

ESE^zisEiEiEsEiEEaE: 


e- 


;§-_q. 


6  0  |        6        | 

3 

"^  7  7  7        -— - 

#  -e- 

450.  In  the  Minor  Mode,  the  Inversion  of  the  mixt 
Cadence  takes  place,  which,  in  modern  Music,  is  gen- 
erally varied  by  the  Italian  Sixth. 

*  The  Directs  placed  over  F,  on  the  Supertonic,  show  the  funda- 
mental Bases  of  the  French  Theorists.  The  Hyperdiatonic  Cadence 
of  Mercadier  de  Belesta,  coincides  with  the  under  Notes. 

15 


166 


MUSICAL  GRAMMAR. 


The  Directs  mark  the  Roots  of  the  Chords. 

~5~o~©=zdii::dzid::^©izd=: 
— a — 2s — _ ±_o — « — _ 


;—z~^zza 


•#e 


zi::QZLG::#eZZGZ=ii 


6        ■#■ 

_.-e- 


|?EEEgEp|5:^gz:DE^ 


^ 


■W1 


^ 


^ 


The  remainder  of  the  Scale  coincides  with  that  of 
the  Major  Mode. 

451.  Although  this  Scale  is  given  in  the  above  form 
by  most  of  the  Theoretical  .Writers,  yet,  in  practical 
Music,  such  is  the  prevalence  of  partial  Modulations, 
varied  Sequences,  &c.  that  the  Rule  is  not  often  found 
complete.* 


Sect.  V. — Of  Chromatic  Modulation. 

452.  When  the  Chromatic  Semitones  are  intro- 
duced between  the  Notes  of  the  Diatonic  Scale,  Chro- 
matic Modulation  is  formed,  in  which  the  Key  is  con- 
tinually, although  partially  changing. 

453.  As  the  Diatonic  Sequence  of  Sevenths  is  used 
to  avoid  Modulation,  so  a  Chromatic  Sequence  of  Sev- 
enths consists  of  Dominants  alone,  and  the  Scale 
changes  at  every  Chord  ;  thus, 


— ?s§-  *g=r:?grr:sg=::SQ=:=3 


*  See  a  striking  instance  in  the  Scales  of  Emanuel  Bach,  given  by 


HARMOxNY. 


167 


This  Sequence  forms  a  descending  Chromatic  Scale. 

454.  In  a  similar  manner  may  be  formed  an  as- 
cending Chromatic  Sequence,  derived  from  that  of  5 
and  6 ;  thus, 


~ <B  —  *©- 


Q_i£Q__JX 


5:EE=EE|=£iEz?=; 


--G- 


This  also  makes  a  partial  change  at  every  other 
Harmony. 

455.  In  Modern  Music,  a  species  of  Chromatic 
Transition  is  employed,  in  which  the  Semitones  occur, 
not  as  parts  of  the  radical  Harmony,  but  as  Appoggia- 
turas,  After-notes,  or  Acciaccaturas.* 

456.  The  two  following  Examples,  from  the  cele- 
brated Opera  of  Mozart,  the  Zauberflote,  are  instances 
of  Chromatic  Appoggiaturas. 


("  Wie  stark  ist  nicht.") 


• -wi- ## 


feg4C^ffl%g!^ 


("  Pchnelle  Fusse.") 


457.  The  Acciaccatura  or  Half  Beat,  is  also  used 
with  great  effect  in  a  Terzett,  from  the  same  piece.f 

Mr.  Shield.  Geminiani  also  (Art.  of  Accorap.  Op.  11,)  very  strongly 
objects  to  these  Rules,  because  ':  they  are  uncertain  and  precarious.'"' 
The  Example  before  adduced  (Art.  353,)  shows  that  the  descending 
Scale  may  be  extremely  varied,  and  that  it  may  employ  an  Inversion 
of  the  Subdominant  Harmony  with  great  effect. 

*  Geminiani  (Treatise  on'Good  Taste,  1749,)  asserts  that  the  Ac- 
ciaccature  had  been  then  in  use  above  an  hundred  years. 

t  The  Half  Beat  may  also,  in  some  few  instances,  be  found  on  the 
Semitone  above,  taken  as  a  Flat.  See  dementi,  Op.  2,  Sonata  Ima, 
first  Movement. 


168  MUSICAL  GRAMMAR. 

("Seyd  uns  zum  zweytenmal.") 


Sect.  VI. — Or  Enharmonic  Modulation. 

458.  The  last  and  most  difficult  branch  of  Harmo- 
ny, is  that  which  arises  from  the  sudden  change  of 
Key  made  by  the  Enharmonic  Diesis  (Art.  '214.) 

459.  When  any  one  of  the  Sounds  of  the  equivocal 
Chord  (Art.  323,)  is  called  by  a  new  name,  and  placed 
on  a  new  Degree,*  the  Root,  Scale,  and  Signature,  all 
change  at  once. 


Root  E,  Key  A  Minor.  *"y      Root  G,  Key  C  Minor. 

460.  As  this  Harmonyf  consists  of  four  Sounds, 
each  of  which  may  be  altered  by  the  Diesis,  the  two 
following  Modulations  arise  from  the  same  Chord. 


##■ 


:feir=if-=^z=:5::5S=:SDQ:::^zz: 


.  ~J3 — ggQE„ jr    ff —      n       - — 


Root  B  flat,  Key  E  flat  Minor.     Root  C  sharp,  Key  F  sharp  Minor. 

*  Although  the  temperament  of  Keyed  Instruments  authorizes  the 
expressions  here  used,  yet  it  must  be  understood  that,  in  other  In- 
struments, the  difference  between  G  sharp  and  A  flat  can  be  made, 
and  is  in  theory  always  to  be  considered  as  a  real  Interval. 

t  The  Harmony  of  the  extreme  flat  Seventh  has  attracted  the  notice 
of  all  the  Theorists  who  have  written  on  the  subject  of  Chords  in 
modern  times  :  and  its  complete  discussion  would  fill  an  ample  trea- 
tise. The  well  known  Air  by  Handel,  in  Samson,  "Return,  O  God 
of  hosts  ;"  the  '•  Alma  del  gran  Pompeo,"  in  Giulio  Cesare,  (see  Dr. 
Burney,  Commemoration  of  Handel :)  "  Vouchsafe,  O  Lord,"  in  the 
Dettengen  Te  Deum,  &c.  are  all  passages  which  might  justify  a  par- 
ticular Analysis,  and  which  the  Author  hopes,  on  a  future  occasion, 
to  lay  before  the  public.     (See  also  Shield.] 


HARMONY.  169 

461.  As  the  Chromatic  Octave  upon  Keyed  Instru- 
ments consists  of  twelve  different  Sounds  (exclusive  of 
the  Diatonic  Eighth  or  Replicate  of  the  first.)  there 
are  but  three  different  Chords,  in  respect  of  the  Keys 
themselves,  on  the  Key-board.  These,  in  their  sim- 
plest forms,  are  the  added  Ninths  of  D,  A,  and  E,  Domi- 
nants of  their  respective  Minors. 

-Q-  #Q-  U 


Each  of  these  Chords,  by  the  use  of  the  Diesis,  may 
change  into  three  other  Harmonies  ;  and  thus  an  im- 
mediate step  to  any  one  of  the  twelve  Minor  Modes 
may  be  gained.* 

462.  These  Chords  may  also,  under  certain  limita- 
tions, succeed  each  other  chromatically,  descending  or 
ascending. 


Root  B  Root  E  Root  A 

(Descending.) 

Part  of  the  ascending  Series  is  the  same  inverted, 
as  before  given,  Art.  461. 

463.  The  last  and  most  unusual  species  of  Enhar- 
monic Modulation,!  is  that  which  changes  the  Domi- 
nant Seventh  into  the  German  Sixth.!  A  remarkable 
instance  occurs  in  Handel's  Solomon,  at  the  Chorus, 
Draw  the  tear  from  hopeless  love  ;  thus, 

*  Mr.  Corfe,  of  Salisbury,  in  his  Thorauvh  Base  simplified,  a  work 
lately  published,  has  siven  a  Table  of  these  Chords,  as  used  in  the 
twelve  Minor  Keys.  &c. 

t  Rousseau,  Art.  Enharmonique,  does  not  mention  this  Modula- 
tion ;  although  it  is  extremely  worthy  of  notice,  beins  formed  upon  a 
Chord  so  apparently  perfect  as  the  Dominant  Seventh. 

%  Art.  443. 

15* 


170  MUSICAL  GRAMMAR. 

r-i:f:zS-T:S©:3Fd; 


wmmwmmm 


i 


h7        9         6      5 
b7  b  tl        5         4,     # 

mmmmw=*=m 


b7 


Radical  Base.  7 

b        b?      * 


£ 


to  express  the  words,  full  of  death  and  wild  despair. 


PART   IV. 

RHYTHM. 

CHAP.   I. 
OF  ACCE.\°T. 


Sect.  I.— Or  Simple  Measures. 

Art.  464.  The  disposition  of  Melody  or  Harmony, 
in  respect  of  Time  or  Measure,  is  termed  Rhythm. 

465.  Those  branches  of  Rhythm  which  are  neces- 
sary to  be  considered  in  the  present  Work,  are, 

1.  Accent.  4.    The  Phrase. 

2.  The  Musical  Foot.  5.    The  Section. 

3.  The  Musical  Csesure.     6.    The  Period. 

466.  Accent  has  been  already  described  (Art.  80,) 
as  part  of  Notation;  but  it  must  be  now  examined 
more  accurately,  since  upon  this  peculiar  arrangement 
of  Sound,  all  Rhythm  depends. 

467.  The  necessity  of  dividing  the  Notes  of  Music 
into  equal  portions  of  Time  called  Measures  (Art.  65.) 
may  be  shown,  by  considering  the  subsequent  series  of 
Notes. 


468.    The  above  cannot  be  performed,  as  Melody, 
without  making  certain  points  of  division,  on  which  a 


172 


MUSICAL  GRAMMAR. 


pressure  must  be  laid.    It  may,  for  instance,  be  accent- 
ed two  ways  in  equal  Time  ;  thus, 


Trochaic  Rhythm. 

o       —    o       —    o    —     o 


;3E5=ap~* 


II 


Or  thus, 


Iambic  Rhythm. 

u     —      o      —      o     — 


I.     Dactylic  Rhythm. 

—  o    o     —   o    o     —  o    o 
?:i:P2«z€: 


W:: 


II.     Anapaestic  Rhythm. 

o  o  —     6''  6:1—  -"  '*#  o'  — 

zErbrE'TtrEitirE^EiE'-T-P-^J 

III.     Amphibrachic  Rhythm. 

o    —  o     o    —  o      o  —  o 

469.  These  passages  are  also  distinguished  by  the 
different  Harmonies  they  bear  in  each  variation  of 
Rhythm. 

I.    Dactylic. 

—    O     O    —     O    O  —    V     o 

lililiiliilia 


RHYTHM. 


173 


II.     Anapaestic. 

O    O    —       V    o   — 


III 


Amphibrachic. 

o  -  o      o  — 


470.  The  simple  Measures  of  equal  Time  consist  of 
two  Parts,  and  are  subdivided  into  four  Times ;  the 
Parts  are  Minims  in  common  Time,  and  Crotchets  in 
two  Crotchet  Time  ;  and  the  Times  are  Crotchets  in 
common  Time,  and  Quavers  in  two  Crotchet  Time.* 


zzizzazizan 


471.  The  simple  Measures  of  unequal  Time  also 
consist  of  two  Parts,  one  double  the  length  of  the  oth- 
er ;  but  the  Times  are  only  three :  hence  arises  a  va- 
ried expression,  according  to  the  value  of  the  Notes  in 
quantity. 

£:S-*r;d;I"e-:3:I-?:t-*:F:ff:i=] 

§:4E*EiHEE=;5EJEE-BEfeES 


472.     In  the  further  division  of  simple  Measure,  the 
Accents  are  known  by  the  Groups,  which  are  regulated 

*  Koch  terms  a  Part,  Tacttheil,  and  a  Time,  Tactglleder. 


174 


MUSICAL  GRAMMAR. 


by  the  Times  of  the  Measure,  as  before  noticed  (Art. 
80 ;)  thus, 

473.  In  Triple  Measure,  the  same  arrangement  of 
Groups  is  in  general  use ;  thus, 

H.  S.  vol.  ii.  No.  92 :  "  Daughter  of  Gods"— Hercules. 
a  thousand  pleasures    reign - 

474.  These  inferior  Accents,  which  belong  to  the 
Times  of  the  Measure,  do  not,  by  any  means,  destroy 
that  great  and  predominant  Accent  that  belongs  to  the 
first  Note  which  follows  the  Bar,  and  which  is  accom- 
panied by  the  Thesis,*  or  depression  of  the  hand  in 
beating  Time.  The  Arsis,]  or  elevation  of  the  hand, 
always  follows  on  the  weak  part  of  the  Measure.  (See 
Art.  81.) 


Sect.  II. — Of  Compound  Measures. 

475.  The  Accents  of  compound  Measures  are  ex- 
actly similar  to  those  of  simple  Measures,  which  are 
only  their  halves,  and  which  differ  chiefly  in  their  No- 
tation, and  their  appearance  to  the  eye. 


*  The  Niederschlag  of  the  Germans, 
f  The  Aufsehlag  of  the  Germans. 


RHYTHM. 


175 


476.  The  Germans  and  also  the  French*  consider 
the  Measure  of  four  Crotchets  as  a  species  different, 
not  only  from  that  of  three,  but  even  from  that  of  two 
Crotchets  (Art.  67 :)  a  distinction  which  arises  from 
the  nature  of  Accent,  and  which  is  thought  of  import- 
ance by  those  Authors.  It  is  considered  by  somef  of 
them  as  a  simple  Measure  ;  but  it  really  seems  merely 
to  differ  from  that  of  two  Crotchets,  by'the  omission  of 
the  alternate  Bar. 

477.  In  compound  Time,  the  difference  between 
six  Crotchet  and  three  Minim  Measure,  or  between  six 
Quaver  and  three  Crotchet  -Measure,  (both  of  which 
contain  an  equal  portion  of  Time  between  the  Bars,) 
is  only  known  by  the  Accent.  The  Groups,  indeed, 
regul-tte  the  Accent  to  the  eye,  and  show  the  com- 
pound Time  of  six  Quaver  Measure  by  their  equal 
division. 

478.  Thus,  in  the  Example  before-mentioned  (Art 
81,)  the  simple  Measures  contains  the  Quavers  group- 
ed by  Sixes,  which  have  one  strong  Accent  on  the 
first,  and  two  inferior  ones  on  the  third  and  fifth  Notes  ; 
thus, 


gilSu? 


& 


\v  s  w  s  w 


479.     In  compound  Time,  the  Accents  are  as  under 

p:SrEE:S:t£it:=^:t:*— :**si:: 

*  Sw-w  Ciww        S  w  vv   S  w  w  SwwS  «    w 


480.  The  compound  Triples  of  nine  Crotchets,  or 
nine  Quavers,  take  their  Accents  from  the  simple 
Measures,  as  before,  (Art  76.) 

*  Principes  de  Musique  du  Conservatoire, 
t  Kollmann,  Essay  on  Harmony. 


176 


MUSICAL  GRAMMAR. 


Sect.  III. — Of  Mixed  Measures. 

481.  The  mixt  Measures  before  described  (Art.  78,) 
take  their  Accents  from  their  Measure-notes  ;  and  the 
Groups  decide  the  alteration  made  in  the  Time  mark- 
ed at  the  Clef. 

482.  Thus,  in  the  Air,  "Whither  my  love,"  (La 
Rachellina  of  Paisiello,)  although  the  Melody  is  writ- 
ten in  two  Crotchets,  the  Accompaniment  is  in  six 
Quavers  ;*'  thus, 

^         -•■hi    -•-r1       -»R     »R 


thus, 


483.  If,  however,  any  variation  in  the  subordinate 
parts  of  these  mixed  Measures  should  be  requisite, 
they  must  be  changed  to  their  relative  Compounds  ; 

o  6    3  9 

—  will  become will  become  — ;  and  com- 

4  8,  4  8 

12 

mon  Time  will  beome  _ 
8. 

484.  The  following  passages  from  Koch  will  show 
the  necessity  of  using  the  compound,  instead  of  the 
mixt  Measure,  in  two  Crotchet  Time. 


Pr£=EtfciE=Eea£z:3 

485.  The  same  variation  takes  place  when  the  com- 
pound is  taken,  instead  of  the  mixt,  in  three  Crotchet 
Time. 


*  There  is  some  doubt  whether  this  Melody  should  be  played  as 
written,  or  as  if  it  were  compound  ;  that  is,  one  dotted  Crotchet,  one 
Crotchet,  and  one  Quaver,  in  the  first  Measure. 


RHYTHM.  177 


v^f — -=- £«■£»—  -  *»L«J--L-k«»E--- 


;6«*, — p**-~ 


486.  In  a  similar  manner,  Handel  uses  the  compound 
twelve  Quavers  for  the  Accompaniment  of  u  .Mirth  ad- 
mit me  of  thy  crew"  in  G  (L'Allegro,)  while  the  vocal 
part,  and  the  Base,  are  written  in  simple  common  Time. 


Sect.  IV. — Of  Emphasis. 

487.  The  particular  sense  in  which  the  term  Em- 
phasis is  employed  in  the  present  Work,  has  been  ex- 
plained (Art.  83,)  with  appropriate  Examples. 

488.  The  Emphasis  is  distinguished  from  the  Ac- 
cent (as  before  observed)  by  its  occuring  on  the  weak 
parts  of  the  Measure  ;  by  the  different  grouping  of  the 
Quavers,  Semiquavers,  &c. ;  and  by  the  emphatic 
marks  of  Rf  &c.  (Art.  142.)  placed  over  the  Notes. 

489.  In  performing  on  the  Piano  Forte,  a  great  dif- 
ference seems  to  exist  between  them  ;  since  Accent 
always  requires  pressure  immediately  after  the  Note  is 
struck,  and  Emphasis  requires  force  at  the  very  time  of 
striking  the  Note.  Thus,  Accent  may  be  used  in  the 
most  Piano  passages  ;  but  Emphasis  always  supposes 
a  certain  degree  of  Forte. 

490.  To  the  same  species  of  effect  which  is  derived 
from  Emphasis,  may  be  referred  the  Tempo  d'lmbroglio 
(della  Confusione)  of  modern  Music,  in  which  the  Mu- 
sic, although  written  in  one  kind  of  Measure,  is  really 
performed  in  another. 

491.  Among  the  simplest  instances  of  this  nature, 
is  that  change  of  Time  used  by  Corelli,  Handel,  &c. 
which  forms  one  single  Measure,  of  three  Minims, 
from  two  Measures  of  three  Crotchets  each,  as  in  the 
following  example  from  the  Passione  of  Graun  : 

16 


178 


MUSICAL  GRAMMAR. 


492.  A  more  singular  Example  may  be  found  in  the 
final  Chorus  of  the  Pilgrim,  by  Hasse  ;  in  which  the 
Time,  though  apparently  three  Crotchets,  produces  the 
effect  of  two  Crotchets  in  a  Measure.* 


iltiililPIili 


TfT 


493.  In  the  last  Movement  of  Haydn's  Instrumen- 
tal Passione,  Op.  45,  generally  known  by  the  name  of 
the  seven  last  words,  several  passages  occur,  in  which, 
as  in  the  preceding  Example,  the  Time  changes  from 
three  to  two  Crotchets.  In  the  final  Section,  the  Time 
changes  to  four  Crotchets,  &c.  As  that  Movement  is 
termed  il  Terremoto,  or  the  Earthquake,  this  confusion 
is  particularly  appropriate. 

*  A  very  beautiful  passage  of  this  nature  may  be  found  in  the  ter- 
zette,  "  Conrade  the  Gaud."  See  Shield,  at  the  words,  "Melting 
strains,  ease  his  pains."  This  elegant  and  scientific  composition  is 
the  production  of  Sarti,  and  was  originally  set  to  apart  of  a  Miserere 
in  the  Russian  language. 


RHYTHM.  179 

CHAP.  II. 
OF  THE  MUSICAL  FOOT. 

Sect.  I. — Of  Simple  Feet. 

Art.  494.  A  small  portion  of  Melody,  with  one  prin- 
cipal Accent,  including  the  value  of  a  Measure,  is 
termed  in  this  work  a  Musical  Foot. 

The  knowledge  of  this  Rhythmic  subdivision  of 
Melody  is  of  great  importance  in  practical  Music ;  as 
the  Singer  must  not  take  breath,  nor  the  Performer  on 
Keyed  Instruments  separate  the  Notes,  in  the  middle 
of  a  Foot. 

495.  It  has  been  usual  with  some  Authors  to  apply 
the  names  of  the  ancient  poetical  Feet  to  correspond- 
ing musical  passages  ;  but  the  difference  between  an- 
cient and  modern  Quantity  and  Accent,  leaves  a  doubt 
concerning  the  propriety  of  using  the  terms  of  Grecian 
Rhythm. 

496.  An  English  Trochee,  as  Actor,  hateful,  &c.  may 
be  represented  in  Musical  Notation  several  ways,  as  in 
the  following  Example  : 


497.     An  English  Iambus,  as  Reject,  observe,  may  be 
represented  by  the  opposite  Rhythm. 


m&nsii 


180  MUSICAL  GRAMMAR. 

498.  The  other  two  dissyllabic  Feet  of  the  an- 
cients, viz.  the  Spondee,  both  syllables  long,  as  pale 
moon,  and  the  Pyrrhic,  both  short,  as  level,  may,  in  re- 
spect of  the  Measure  (which  is  guided  by  the  Accent) 
be  always  considered  as  Trochaic  in  the  English  lan- 
guage, with  some  small  occasional  change  in  the  value 
of  the  Notes.* 

499.  The  difference  between  the  two  dissyllabic 
Feet  is  well  exemplified  by  the  word  Desert,  which, 
when  set  to  Music  as  a  Trochee  (desert,j)  signifies  a 
lonely  place.  Thus,  in  the  Messiah,  "  Comfort  ye  my 
people." 

2:tft:gz«=IE:E~E~i=fi~s= 

Make      straight     in      the        de  -    sert. 

500.  The  same  word,  set  to  Music  as  an  Iambus 
(desert,)  signifies  merit.    Thus,  in  Judas  Maccabceus. 


With  hon  -  or     let        desert        be  crovvn'd. 

The  effect  of  these  Feet,  in  respect  of  deciding  the 
Key  by  means  of  the  Accent,  has  been  before  exem- 
plified, Art.  304.  Another  instance  of  Harmony  and 
Rhythm  being  united  to  determine  the  Key,  in  contra- 
distinction to  the  Signature,  may  be  seen,  Art.  278. 

501.  The  English  Feet  of  three  syllables  may  be 
divided  into  three  classes,  answering  to  the  Dactyt,  the 
Anapaest,  and  the  Amphibrach  of  the  ancients. 

I.  The  Dactyl,  may  be  represented  by  the  words 
laborer,  possible ;  and  in  Notes,  thus, 

*  See  Examples  of  this  variation  in  the  Cadences  of  the  Glee, 
"  Sigh  no  more,  ladies,"  by  R.  J.  S,  Stevens,  and  the  Madrigal, 
*'  Since  first  I  saw  your  face,"  by  Ford. 

t  The  liberty  of  marking  the  accentual  difference  of  Poetical  Feet 
by  the  signs  of  Quantity,  is  taken  by  Koch,  Art.  Metrtim,  &c. 


RHYTHM. 


1S1 


V   o 


II.     The  Anapcest,  may  be  represented  by  the  words 
contravene,  acquiesce;  and  in  Notes,  thus, 


O    U 


o   o  — 


S^:*:?iE3l:4>;«5E«:4:l:«:*!t« 

III.    The  Amphibrach  may  be  represented  by  the 
words  delightful,  domestic ;  and  in  Notes,  thus, 


liEiPiEgl 


Sect.  II. — Or  Compound  Feet. 

502.  As  a  Musical  Foot  is  equal  in  value  to  a  Mea- 
sure,* although  it  differs  in  Accent,  on  account  of  the 
place  of  the  Bar ;  so  in  the  compound  Measures  the 
Feet  are  double,  and  may  be  resolved  into  two  by  di- 
viding the  Measure.    (See  Art.  75.) 

503.  The  following  Trochaic  Example  from  Haydn, 
Op.  40,  Sonata  3,  might  be  resolved  into  single  Feet 
of  two  Crotchets  in  a  Measure. 


Vs 


504.  The  same  may  occur  in  the  Iambic  Measure, 
as  in  the  following  Example  from  Haydn's  first  Sym- 
phony (Salomon's  Concerts.) 

*  Kollmann,  Essay  on  Harmony,  mentions  the  similarity  of  tie  Bar 
(Measure)  in  Music  to  the  Footin  Poetry   but  does  not  show  their 
accentual  difference. 
16-* 


182  MUSICAL  GRAMMAR. 

505.  An  Example  of  the  compound  Foot  in  six 
Quaver  Time  divided  by  the  Bar,  is  found  in  Haydn, 
Symphony  3d.    (Salomon's  Concerts.) 

Foot.  Foot. 


506.  The  difference  between  compound  and  simple 
Feet  may  be  further  exemplified  by  the  following  ex- 
tracts from  the  Messiah,  in  addition  to  the  remarks 
given  in  the  preceding  page. 

("  O  thou  that  tellesL") 

*3  „  ~    •'■     ~+~w~'  ~"— .  ~ '•— w~~  1"T" 


be  not     a    -   fraid. 


Strength,    lift     it        up, 

(*  I  know  that  my  Redeemer") 


5=3£ 


oat :: 


know 


that  my    Re    -    deem 


The  second  Measure  of  both  Examples  is  divided  in 
the  same  manner ;  but  the  Accent,  and  consequently 
the  Feet,  are  entirely  different. 


RHYTHM.  183 


CHAP.  III. 


OF  THE  MUSICAL  C.ESURE. 

Art.  507.  The  term  Ccesure  is  used  in  this  Work  in 
the  signification  annexed  to  it  by  Koch,  as  the  Rhythm- 
ic Termination  of  any  passage  which  consists  of  more 
than  one  Musical  Foot.  In  other  words,  the  Csesure 
is  the  last  Accent  of  a  Phrase,  Section,  or  Period,  and 
is  distinguished  in  all  the  simple  Measures  by  the 
place  of  the  Bar. 

508.  The  utility  of  this  distinction  will  appear,  by 
considering  the  two  methods  in  which  the  Music  might 
be  composed  to  the  lines, 

"  Conquest  is  not  to  bestow, 
In  the  spear  or  in  the  bow." 

Dr.  Arne>s  Judith. 

t  *  t  - 

^  H--  •-     -  g--  —•3. 

If  these  Measures  were  not  divided  as  they  are,  the 
Caesure,  which  now  is  properly  placed  on  a  strong 
part  *,  would  fall  on  the  weak  part  f,  contrary  to  the 
nature  of  Accent. 

509.  The  Ccesure,*  in  ancient  Music,  most  fre- 
quently occurs  in  the  middle  of  the  compound  Meas- 
ure, and  thus  appears  to  a  modern  view  irregular  and 
incorrect. 

510.  The  exceptions  to  the  Musical  Caesure  falling 
upon  the  last  syllable  of  the  line  in  Poetry,  are  few, 
but  very  important. 

*  The  term  Casura  was  used  by  Prinz  (Sat.  Comp.  P.  T.)  in  two 
senses ;  the  first  of  which  corresponds  with  that  here  given.  See 
Dr.  Burney,  Art.  Casura.    Bees'  Cyclopedia,  vol,  v.  P.  II. 


184 


MUSICAL  GRAMMAR. 


511.  From  the  nature  of  Harmony,  it  sometimes 
occurs  that  the  three  last  syllables  may  belong  to  a 
Melody  derived  from  the  same  Chord ;  in  that  case, 
the  Cffisure  is  thrown  back,  as  in  the  following  Exam- 
ple: 

"  So  shall  the  lute  and  harp  awake, 
And  sprightly  voice  sweet  descant  run." 

HandeVs  Judas  Maccabaus. 


Here  the  Cassure  falls  on  the  third  Crotchet  to  the 
syllables  descant  run,  instead  of  being  placed  on  the 
last  syllable  run. 

512.  It  appears  that  the  Cffisure,  or  Rhythmic  Ter- 
mination, is  not  always  the  last  Note  of  the  passage. 
The  Melody  is  often  prolonged  after  the  Cffisure,  by 
varying  the  Tonic  Harmony  ;  thus, 


:fcz==: 


513.  The  whole  Chord  of  the  Dominant  is  also  often 
retained  (see  Art.  376,)  upon  the  Cffisure ;  as  in  the 
following  Example  from  Mozart's  Duett  in  C,  Op.  14. 


514.  The  Air  by  Handel  in  the  Occasional  Orato- 
rio, of  which  the  subject  is  here  given,  will  be  found  an 
excellent  study  for  the  correct  position  of  the  Cffisure. 


RHYTHM. 


185 


lfllE=elll^=g§lII 


Prophet 


visions    strike    mine 


eye. 


515.  In  the  following  instance.  Handel  has  not  been 
so  careful,  since  the  Csesure  comes  in  the  wrong  place, 
and  the  Bars  are  consequently  erroneous.  It  should 
begin,  like  the  Example,  Art.  0O8,  with  the  half  Meas- 
ure. 

(H.  S.  I.  No.  47  ;  Alexander  Bolus.) 


strange  reverse      of 


man      fate. 


516.  In  the  old  arrangement  of  compound  common 
Time,  it  was  usual  to  change  the  place  of  the  Csesure  ; 
sometimes  forming  the  Cadence  at  the  beginning  of  a 
Measure,  and  afterwards  repeating  the  same  Csesure 
in  the  middle  of  a  Measure.  The  Airs  of  Pergolesi, 
Jomelli,  &c.  are  remarkable  for  this  rhythmic  variation. 
See  a  particular  instance  in  the  admirable  Song  by 
Hasse,  Pallida  il  Sole* 


First  Part. 


Second  Part. 


517.  In  the  National  Dance  Tune  called  Polonoise 
or  Polacca,  a  considerable  exception  to  the  Rule  of  the 
Csesure  occurs,  as  it  falls  there  on  the  weak  part  of  a 
Measure  ;  thus, 


a 


•  18.    An  instance  also  of  equivocal  Csesure  might 


*  Delizie  delP  Opere.  torn. 
335,419. 


Dr.  B.  iv.  373,548.     Sir  J.  H.  fc. 


186 


MUSICAL  GRAMMAR. 


occur  in  the  Common  Melody  of  Sally  in  our  Alley,* 
which  is  properly  barred  thus  : 

519.  This  might  be  barred  differently,  for  the  sake 
of  throwing  the  Csesure  on  the  last  syllable  of  the  sec- 
ond line,  contrary  to  the  Accent  of  all  the  other  Feet. 


CHAP  IV. 
OF  THE  PHRASE. 


Sect.  I. — Of  the  Regular  Phrase. 

Art.  520.  A  Phrase  (Einschnitt)  is  a  short  Melody, 
which  contains  no  perfect  nor  satisfactory  Musical 
idea. 

521.  The  Phrase  is  generally  formed  of  two  Mu- 
sical Feet  in  simple  Time,  and  therefore  contains  the 
value  of  two  Measures  :  thus, 


(Beethoven,  Op.  2.) 


A 


**       -©  -3«-S«   *•-    -%-  *- 

*  This  Air  was  composed  by  Harry  Carey,  and  begins,  Of  all  the 
girls  that  are  so  smart.  Bee  Sir  J.  H.  v.  194.  Dr.  B.  iv.  300,  652. 
The  style  of  Melody  which  distinguishes  this  Tune,  has  been  often 
imitated  with  considerable  success. 


RHYTHM. 


1ST 


522.    In  compound  Time  of  the  older  Writers,  a 
Phrase  sometimes  consists  of  a  single  Measure  ;  thus, 


(u  O  had  IJubaVs  lyre.") 

A 


A 


z_fe¥(*z*pz£z~z 


Phrase. 


523.  Koch  has  used  the  mark  of  a  Triangle  C/\) 
to  express  the  Phrase,  and  places  it  over  the  final 
Note.*  In  Musical  Punctuation,  this  sign  seems  analo- 
gous to  that  of  the  Comma  (,)  in  language. 

524.  Riepel,  of  Ratisbun,  in  l/54,f  has  analyzed 
the  rhythmical  arrangement  of  Musical  thoughts,  with 
great  success. 

525.  He  divides  Musical  Phrases  into  two  species — 
Perfect,  when  concluded  by  the  Tonic  Harmony  ;  and 
Imperfect,  when  concluded  by  the  Dominant. 


A 


A 


Imperfect  Phrase.  Perfect  Phrase. 

526.  In  the  works  of  Kirnberger,  the  term  Ccesure 
seems  equivalent  to  the  term  Phrase ;  and  the  rejec- 
tion of  the  word  Einschnitt  is,  as  Koch  observes,  a  de- 
fect in  the  theory  of  that  able  Contrapuntist! 

527.  The  Phrase  is  subject  to  all  the  varieties  of 
Accent  that  distinguish  the  Feet  of  which  it  is  formed  ; 
and  the  two  Measures  of  the  regular  Phrase  should  al- 
ways be  complete. 


:acchini.$) 

■&* -J-m- 


A 


(u  Pas serena" 


*  Anleitung  (1787,]  vol.  ii. 
f  De  Rhythmopaeia,  Tactordnung. 
%  Koch's  Lexicon.  Art.  Absatz 
<\  Corri's  Select  Collection,  vol.  i. 


188 


MUSICAL  GRAMMAR. 


528.  When  the  same  Phrase  is  repeated  per  tonos, 
that  is,  a  Note  higher  or  lower,  a  slight  variation  may 
occur. 


(Non  vi  turbate —  Gluck.) 

A 


A 


iiiiplIilSiy 

529.  The  too  frequent  repetition  of  the  same  pas- 
sage in  various  Keys,  particularly  on  the  Chromatic 
Modulation  (Art.  454,)  ascending,  as  found  in  Corelli, 
Dr.  Green,  &c.is  termed  by  the  Italians,  Rosalia.  See 
Koch,  Art.  Transposition. 

530.  Koch  makes  three  remarks  upon  the  harmoni- 
cal  construction  of  the  Phrase,  which  apply  to  what 
has  been  already  observed  from  Riepel. 

fflfst,  That  the  Phrase  frequently  terminates  with 
the  Subdominant  Harmony. 


Secondly,  That,  as  the  Phrase  is  an  incomplete  pas- 
sage, the  Caesure  may  be  made  on  a  Discord,  particu- 
larly the  Dominant  Seventh. 


:=S=£=£_?f^:i:-CUp_r_:7 


A 
^£z£z:zz:*: 


£:zi 


Thirdly,  That  the  Caesure  may  also  take  place  on  the 
Inversion  of  a  Chord. 


RHYTHM. 


1S9 


531.  Rousseau  (Art  Phrase)  has  defined  the  term 
in  a  more  extensive  sense,  very  similar  to  that  applied 
to  the  word  Section  in  the  following  Chapter.  He  dis- 
tinguishes between  Phrases  in  Melody,  and  Phrases  in 
Harmony.  These  last  seem  to  correspond  with  the 
Dominant,  and  Mediant  Sequences.     See  Art.  4*27. 

532.  Heck,  in  his  Musical  Library,  describes  the 
Phrase,  Section,  and  Period,  under  the  terms  Section, 
Period,  and  Paragraph,  and  considers  the  term  Section 
as  synonymous  with  Rhythmns.* 

533.  Holden  also,  uses  the  term  Phrase  in  a  gene- 
ral sense,  and  appears  to  include  all  rhythmic  varieties 
in  its  definition. 

534.  The  Rev.  Mr.  Jones,  of  Nayland,  calls  the 
Phrases  Clauses;  and  considers  two  similar  Phrases 
following  and  depending  on  each  other,  as  antecedent 
and  consequent ;  upon  which  succession  he  makes  some 
very  just  and  useful  remarks,  referring  to  Corelli's  8th 
Concerto  at  the  close  of  the  Adagio,  Handel's  Air  in 
the  Overture  to  Berenice,  &c. 


Sect.  II. — Of  the  Irregular  Phrase. 
535.    Whenever,  by  repeating  one  of  the  Feet,  or 
by  any  other  variation  of  the  Melody,  three  Measures 
are  employed  instead  of  two,  the  Phrase  is  termed  ex- 
tended or  irregular. 


(Kreusser,  Op.  xi.  Waltz  the  2d.) 

iliiiiiii 


■f 


A 


#--._ 


o= 


*  The  Compound  Rhythm  of  Kollmann,  Essay  on  Harmony,  and  the 
term  Rhythmus  in  Shield,  seems  to  correspond  with  Phrase  or  Section. 

17 


190 


MUSICAL  GRAMMAR. 


536.  A  beautiful  Example  of  two  extended  Phrases, 
the  latter  of  which  contains  a  Measure  of  double  Time 
(Art.  491,)  is  found  in  Handel. 

(u  He  ivas  brought  as  a  lamb."*) 


A 


— ±:^:±BEEHEtH 


L  , 


537.  The  contracted  Section  resembles  the  extend- 
ed Phrase,  in  the  number  of  its  Measures,  both  con- 
sisting of  three  Feet ;  but  the  Phrase  is  always  an 
imperfect  Melody,  whereas  the  Section  always  termi- 
nates with  a  Cadence. 

538.  A  Phrase  is  often  extended  by  continuing  the 
Harmony  of  its  first  Measure,  as  in  the  following  Ex- 
ample : 

(Clementi,  Op.  2,  Sonata  4.j 


2||:— :z:i:^s^s^:iq^zqT:^qzzr: 


539.  A  Phrase  also  becomes  irregular,  when  a 
Measure  foreign  to  its  subject  is  introduced  by  way  of 
prelude  ;  thus, 

(Mozart,  Op.  3,  Duetto.) 


=±±:r==rt££ 


540.  In  some  passages,  the  variation  of  the  Ceesure 
Note,  by  an  Appoggiatura,  or  by  other  means,  will 
give  to  a  contracted  Section  the  effect  of  an  extended 
Phrase. 

541.  The  following  example  from  Haydn's  Creation 


Redemption. 


RHYTHM. 


191 


is  of  that  nature,  and  is  therefore  equivocal ;  as  its 
Melody  indicates  an  extended  Phrase,  and  its  Har- 
mony a  contracted  Section. 

("  Noiv  vanish") 


54'2.    The  next  passage  is,  however,  more  complete, 
and  really  terminates  the  Section. 


Hence  appears  the  propriety  of  terming  the  first  an 
extended  Phrase. 

543.  In  Choral  Music  of  the  Ancient  School,  the 
contracted  Phrase  seems  to  be,  in  many  cases,  equiva- 
lent with  the  compound  Foot.  See  an  instance  before 
adduced,  in  "  The  flocks  shall  leave"  Art.  281. 

544.  Thus  also,  in  the  sublime  Chorus,  "  For  unto 
us  a  Child  is  bom,"  the  first  Phrase  is  little  more  than 
a  compound  Foot. 

A 


:z—  :pzzzzziEzi:z^zs::r:3zzzzzziJ 


For    unto     as 


Child  is 


545.  In  Fugues  by  Augmentation,  Feet  become 
Phrases,  Phrases  become  Sections,  &e.  In  Fugues 
by  Diminution,  on  the  contrary,  Phrases  become  Feet, 
&c.  as  in  the  following  Example  : 

("  Let  all  the  angels  of  God.") 

Subject  in  Phrases. 

A  A  ^_ 


|:|s=|E|||| 


A 


ISP 


lA.L. 


192 


MUSICAL  GRAMMAR. 


546.    The  Answer  by  Diminution  changes  Crotchets 
into  Quavers,  Quavers  into  Semiquavers,  &c. 


Answer  in  Feet. 


lillfe&iis^li 


Sect.  III. — Of  Interwoven  Phrases. 

547.  In  Figurative  Counterpoint,  anciently  termed 
Descant,  where  Imitations,  Fugues,  and  Canons  are 
employed,  the  Phrases,  as  they  occur,  are  interwoven 
in  the  different  parts. 

Thus,  the  extended  Phrase  to  the  words,  "  shall  be 
revealed,"  is  interwoven  in  the  various  parts. 

(u  And  the  glory  of  the  Lord" — Messiah.) 


548.  The  union  of  Phrases  towards  the  end  of  a 
Fugue,  &c.  is  sometimes  even  closer  than  a  Foot, 
being  at  a  distance  of  a  Crotchet  only.  Many  exam- 
ples of  this  style  may  be  found  in  the  Madrigals  of 
Wilbye,  Weelks,  &c.  In  Italy,  this  is  called  Lo  Siret- 
to  Delia  Fuga,*  the  knot  of  the  Fugue. 

549.  The  Accent  of  the  words,  however,  will  not 
always  permit  them  to  agree  with  so  close  a  union  of 
the  Music,  as  the  alteration  in  the  following  Example 
will  show : 

*  P.  Martini,  Saggio,  torn.  ii. 


RHYTHM. 

(a  Ye  sons  of  Israel."*) 


193 


fc=£fc*ta 


■b- 


^2 


A 


::zl 


-:^=brt«t=:t 


550.  A  similar  passage  is  introduced  with  great 
effect,  at  the  end  of"  The  flocks  shall  leave"  where  the 
Violins  re-echo  the  same  Notes  (in  the  Octave  above) 
as  are  sung  in  the  preceding  Time,  to  the  words,  "  Die, 
presumptuous  Acis." 


K 


llEti£|:PgiJil^: 


551.  In  those  pieces  of  Music  termed  Canons,  in 
which  the  same  Meloily  is  continually  heard  in  the 
different  parts,  the  Phrases  are,  of  course,  united 
throughout  the  whole  composition. 

Of  "this  kind  of  Music,  the  finest  specimen  now  ex- 
tant is  the  celebrated  Son  *Vobis  DomineA  by  Bird  ; 
which  will  ever  remain  a  lasting  ornament  to  the  taste 
and  science  of  the  country  in  which  it  was  produced. 

The  Phrases  of  this  Canon  are  as  follow  : 


=Sii 


nobis 


*  Joshua.     Redemption. 

t  See  before,  Art.  4-21,  and  La  Borde.  torn. 

17* 


Dr. 


Note. 


194  MUSICAL  GRAMMAR. 

A  A 


Sed     nomi  -  ni       tu    -   o    da     glori  -  am. 
Sed    nomi  -  ni       tu    -   o    da      glori  -  am. 


CHAP.  V. 


OF  THE  SECTION. 


Sect.  I. — Or  the  Regular  Section. 

Art.  552.  A  Section  (Absatz)  is  a  portion  of  Melody, 
formed  by  two  regular  Phrases,  the  last  of  which  is 
terminated  by  a  Cadence. 

553.  The  Section  takes  the  name  of  Tonic,  or  of 
Dominant,  according  to  its  final  Harmony  ;  as  in  the 
two  following  Examples  from  Haydn's  Creation. 

(u  The  heavens  are  telling") 

Dominant  Section. 


wz—z: 


Tonic  Section. 

Siiiiiiiilli 


RHYTHM.  195 

554.  In  Music  of  the  older  School,  the  Section 
often  consists  of  two  Measures  only,  as  in  the  Exam- 
ple, "  O  had  1  JubaVs  lyre,"  Art.  522. 

555.  Koch  has  also  adopted  the  mark  of  a  Square 
(  □  )  to  express  the  Section,  and  places  it  like  the 
Triangle  of  the  Phrase,  over  the  final  Note.  This 
Sign  seems  analogous  to  that  of  the  Semicolon  (;)  in 
language. 

556.  In  the  Arioso,  or  Legato  style  of  Music,  it  is 
usual  to  find  Sections  which  are  not  subdivided  into 
Phrases,  as  in  the  following  Example. 

(J.B.  Cramer,  Ex.41.) 

a 

fkr* *— *H — P-- — -#l  jfld — H 


EEEBfEEffi 


557.  Koch  makes  also  three  remarks  upon  the  Sec- 
tion* (Art.  Absatz,)  as  relating  to  its  Punctuation,  to  its 
Rhythm,  and  to  its  Harmony. 

First,  Its  conclusion,  or"  the  form  and  harmonical 
■disposition  of  the  Cadence,  termed  by  Koch,  its  inter- 
punctual  nature.  Upon  this  depends  the  classification 
into  Tonic,  Dominant,  or  even  Subdominant  Sections, 
the  variation  of  Csesure  Note,  &c. 

Secondly,  Its  extent  in  the  number  of  Measures  and 
in  the  similarity  of  Feet  (see  Koch,  Art.  Meii-um,) 
termed  its  rhythmical  nature.  By  this  the  regular  Sec- 
tion, or  Rhythmf  (Vierer)  of  four  Measures,  is  distin- 
guished from  the  irregular  Section,  whether  extended 
or  contracted,  &c. 

Thirdly,  The  extent  and  variation  of  its  component 
Harmonies  ;  or  the  degree  of  its  perfection  as  to  being 
dependent  or  independent  of  the  adjoining  Sections, 
termed  its  logical  nature.:): 

*  Prinz,  in  1696,  used  the  Latin  term  Sectio,  as  signifying  a  part  of 
Melody  terminated  with  a  formal  Cadence.  "  Sectio  ist  ein  Theil  der 
Melodey,  so  sich  endet  mit  einer  Clausula  Formali."  Bat.  Comp. 
P.  I.  chap.  viii. 

t  See  before,  Art.  532. 

|  Turk  (Klavierschule,)  has  entered  fully  into  the  doctrine  of 
Rhythm,  and  has  invented  a  mark  (similar"  to  that  of  our  passing 
Shake,  see  Art.  110,)  which  he  places  over  the  final  Note  of  a  Foot, 
Phrase,  Section,  or  Period,  to  detach  them  from  each  other. 


196 


MUSICAL  GRAMMAR. 


Sect.  IT.— Or  the  Irregular  Section. 

558.  Irregular  Sections  are  of  two  classes,  contract- 
ed of  less  than  four  feet,  and  extended  of  more  than  four 
Feet. 

I.  The  contracted  Section  differs  from  the  extend- 
ed Phrase  by  its  terminating  with  a  Cadence,  as  before 
observed  (Art.  534,)  and  generally  consists  of  three 
Feet. 

II.  The  extended  Section  may  consist  of  five,  six, 
seven,  or  more  Feet;  and  the  Sections  are  distinguish- 
ed from  each  other  by  the  similarity  of  Time  or  Modu- 
lation in  their  respective  Feet. 

III.  The  extended  Section  of  five  Feet*  is  formed 
by  various  methods.  The  following  Example  from 
Koch  augments  the  two  first  Notes  of  the  regular  Sec- 
tion. 


T—ZZ-1&-P 


;:s-5=±rp-]F 


559.     The  Section  of  six  Feet  consists  either  of  two 
extended  Phrases  of  three  Feet  each  ;  thus, 

(Mozart,  Duett,  Op.  3.) 


.&..&.. GL-Q. 


-Q.  _ :p:L:' z:p_£: *  *^R-R?th  t- 

w Taf0^- *~ 

Or  of  three  regular  Phrases  of  two  Feet  each  ;  thus, 


*  See  two  Examples  of  this  kind  in  Shield. 


RHYTHM. 

(Avi3on,  Book  iv.  Concerto  iv.  p.  '31.) 


197 


g— E:J:E:?:t:t£i:fcI?**?:iH:i:3 

560.    The  limits  of  the  present  Work  will  not  admit 
any  further  Examples  of  more  extensive  Sections. 


Sect.  III. — Of  the  I>~terwovex  Section. 

561.  When  the  regular  Section  is  so  united  to  the 
following  one,  that  upon  the  Csesure  Note  of  the  first 
the  second  commences,  the  Section  is  not  only  con- 
tracted, but  interwoven. 

562.  Thus  the  following  Section,  which  is  regular 
in  a  former  part  of  the  page,  is  interwoven  in  this  Ex- 
ample. 


(Mozart,  Op.  3,  Duetto,  p.  7.) 


■*- 


rmm-m  ■  i    tfl. 

563.  When  the  subject  of  a  Fugue  constitutes  a 
Section,  the  Answers  are  interwoven  at  the  Csesure  of 
the  Melody.     Thus,  in  the  Overture  to  Esther, 


ESiiiy 


m 


The  second  Section  commences  in  the  middle  of  the 
fifth  Measure,  on  the  Csesure  Note. 

564.  In  the  ancient  style  of  Music,  great  effects  are 
produced  by  interweaving  Phrases.  Sections,  &c. ;  and 
also  by  intermixing  subjects  of  different  Rhvthms. 

Thus,  in  the  final  Chorus  of  Steffani's  Motett,  the 
original  plain  Song,*  ';  Qui  Diligit,"  is  introduced  with 

*  The  Canto  Fermo  of  the  Italians,  or  Choral  of  the  Germans. 


198 


MUSICAL  GRAMMAR. 


unexpected  effect  in  the  Base,  while  the  other  parts 
are  singing  the  Descant,  "  Frangere  Telum"* 


:=zs=j5fi:p5:^ffl:3Q-3=  3dk±b±k 


SE5i5=5==i= 


In  the  Choruses  of  Handel,  these  effects  continually 
occur.  A  remarkable  instance  may  be  seen  in  that  of 
"  Wretched  lovers"  (in  Acis  and  Galatea,)  at  the  words, 
"  Behold  the  monster,  Polypheme." 

565.  In  compound  Time,  the  interwoven  Sections 
commence  at  the  half  Measure,  and  consist  of  only  a 
Measure  and  a  half.  The  following  Example  is  taken 
from  the  Duett  in  the  same  Motett  of  Steffani,  Qui 
Diligit. 


566.  From  this  union  of  the  parts  arises  the  custom 
before-mentioned  (Art.  515,)  of  placing  the  Caesure  in 
the  middle,  instead  of  the  beginning  of  the  Measure. 

567.  It  is  also  usual  to  protract  the  Harmonies  of 
an  interwoven  Section,  so  that  it  shall  appear  regular 
in  the  number  of  Measures.  Such  is  the  following 
Section,  in  the  last  Chorus  of  Graun's  Passione.f 

*        6  6 

2         5  5 


s2-:zs:zi:iq: 


*  The  "  Qui  ditivit,'''1  of  the  Abbate  Steffani  is  at  present  unpub- 
lished ;  but  it  would  be  a  useful  study  for  Fugue,  &c.  if  printed  with 
annotations. 

t  Der  Tod  Jesu,  or  the  Death  of  Our  Saviour.  See  Hiller's  edition 
(1785.) 


RHYTHM. 


199 


568.  In  this  instance,  the  prolongation  of  the  Tonic 
Harmony  in  the  first  Measure,  makes  the  Section  ap- 
pear regular,  although  it  is  really  interwoven. 

569.  In  Vocal  Music,  the  Harmony  of  a  Section  is 
also  protracted  for  the  sake  of  expressing  the  words, 
as  in  the  Glee  of  the  "  Red  Cross  Knight"  by  the  Au- 
thor of  this  Work  ;  the  first  Section  of  which,  if  regu- 
lar, would  have  been  expressed  thus, 

Blow,  warder,    blow    thy        sound    -    ing       horn. 

But  to  give  greater  effect  to  the  words,  "  Blow,  war- 
der, blow,"  the  two  first  Notes  are  augmented  to  Min- 
ims ;  and  the  Section,  as  written  in  common  Time, 
appears  contracted,  although  it  is  really  extended  :* 
thus, 


Blow,  warder,     blow     thy 


570. 


Sect.  IV. — Of  the  Codetta. 
A  short  Phrase,  or  any  other  passage,  which 


does  not  constitute  part  of  a  regular  Section,  but  serves 
to  connect  one  Section  or  Period  to  another,  is  termed 
in  this  Work  a  Codetta. 

The  term  is  used  by  Sabbatini,  the  successor  to 
Vallotti  at  Padua,  in  his  Trattato  soprale  Fughe,  in  a 
more  limited  sense. 

571.  In  the  Duett  of  Mozart,  referred  to  (Art.  559,) 
the  following  Phrase  unites  the  Minor  Period  to  the 
original  Theme. 


*  This  Section  is  consequently  similar  to  that  exemplified  before, 
Art.  558,  being  really  five  Measures  of  two  Crotchet  Time. 


200  MUSICAL  GRAMMAR. 

572.  The  extempore  divisions  made  at  a  close  by 
Singers  or  Solo  Performers,  and  termed  Cadenze  or 
Cadences  ad  libitum,  are  all  a  species  of  Codetta. 

573.  In  the  repetition  of  a  Strain,  the  passages 
marked  first  Time  and  second  Time,  generally  contain 
each  a  short  Codetta ;  one  to  lead  back  to  the  com- 
mencement, the  other  to  lead  forward  to  its  continua- 
tion. 

{Woelfl,  Op.25,p.l6.) 

First  Time.  Second  Time. 


i^iSSi"! 


574.  In  this  example,  the  short  Attacco*  of  each 
Time  is  not,  as  in  general,  a  separate  Codetta,  but  very 
ingeniously  makes  part  of  the  original  subject. 

575.  In  the  Da  Capo  Airs  of  Handel,  &c.  (Art.  126,) 
a  Codetta  is  generally  inserted,  to  lead  back  to  the 
Theme.    Thus,  in  "  O  the  pleasure  of  the  plains." 


576.  The  most  successful  Composer  in  this  style  is 
Graun,  who,  in  his  celebrated  Te  Deum,f  has  used  the 
Codetta  at  the  end  of  several  Movements,  to  unite 
them  to  the  next. 

Thus,  after  the  final  Cadence  of  the  Air,  "  Tu  ad 
liberandum,"  the  following  Codetta  is  inserted  in  dif- 
ferent Modulation. 


*  Padre  Martini,  Saggio,  torn.  ii.  Dr.  Burney  (Art.  Attacco,  Dr. 
Rees'  Cyclopaedia,)  defines  it,  "  a  kind  of  short  Subject  or  Point,  not 
restricted  to  all  the  laws  of  regular  Fugue,"  &c. 

t  Several  of  the  best  Movements  from  this  excellent  Composition, 
are  now  printed  in  the  Selection  of  Sacred  Music  publishing  at  Bir- 
chall's,  by  the  Rev.  Mr.  La  Trobe. 


RYHTHM. 


201 


With  what  great  effect  this  passage  leads  into  the 
following  Theme,  the  adjoined  Example  will  demon- 
strate. 


E§;fe; 


CHAP.  VI. 


OF   THE  PERIOD. 

Sect.  I. — Of  the  Tonic  Period. 

Art.  577.  A  Period  consists  of  one  or  more  Sec- 
tions, occasionally  interspersed  with  independent  Feet, 
Phrases,  or  Codettas. 

Thus,  the  Air  of  God  save  the  King  (Art.  146,)  con- 
sists of  two  Periods  ;  the  first  PeriocTcontains  one  ex- 
tended Section  (Art.  559,)  and  the  last,  two  regular 
Sections. 

578.    When  one  or  more  Periods  are  terminated  by 
a  double  Bar  (Art.  130,)  they  are  termed  Strains. 
18 


202 


MUSICAL  GRAMMAR. 


579.  The  Period  always  ends  with  a  radical  Ca- 
dence, like  the  Section  (some  few  instances  excepted, 
Art.  424,)  and  answers  to  the  full  stop  (.)  in  language. 

580.  Those  Periods  which  terminate  with  the  per- 
fect Cadence,  are,  from  their  last  Harmony,  termed 
Tonic  Periods. 

581.  The  following  Example  of  a  Tonic  Period,  is 
taken  from  the  third  Sonata  of  Pleyel,  dedicated  to  the 
Queen. 


First  and  third  Sections. 

A 


A  a 


Cadence  of  the  2d  Section.  Cadence  of  the  4th  Section. 

This  whole  Period  consists  of  four  regular  Sections, 
and  is  distributed  into  eight  regular  Phrases. 

The  third  Section  is  a  repetition  of  the  first  by  the 
Violin,  while  the  Piano  Forte  takes  the  Accompani- 
ment. The  fourth  Section  is  similar  to  the  second  in 
respect  of  its  leading  Phrase,  but  differs  in  the  final 
Phrase,  by  terminating  with  the  perfect  Cadence. 

582.  In  the  Example  above  given,  all  the  transient 
Notes  are  omitted,  and  none  but  the  chief  Sounds  of 
the  Harmony  retained.    (See  Art.  187.) 

583.  As  the  Sonatas  of  Kozeluch  are  particularly 
distinguished  by  the  regularity  and  clearness  of  their 
Rhythm,  another  instance  of  a  Tonic  Period  may  be 
taken  from  his  Opera  21,  Sonata  2,  in  A  Major. 


slP^ilEiliii 


RHYTHM. 


•203 


584.    The  second  Section  consists  of  one  regular 
Phrase  repeated  ;  thus, 


>SSZ 


-t-=:*^ 


zftzzz^izdEe*: 

.  585.    The  third  Section  (with  the  omission  of  the 
passing  Notes)  concludes  the  Period  ;  thus, 

586.  Many  more  Examples  might  be  given  from 
the  works  of  the  Bachs,  Vanhall,  Haydn,  Mozart,  &c. 
since  the  variety  of  Periods,  in  respect  of  their  compo- 
nent parts,  is  as  great  in  Music  as  in  any  other  lan- 
guage. 


Sect.  II. — Of  the  Dominant  Period. 

587.  When  a  Period  concludes  with  an  imperfect 
Cadence  (Art.  414.)  it  is  termed  a  Dominant  Period. 

An  example  of  this  Period  may  be  found  in  Koze- 
luch,  Op.  33,  Sonata  1. 


A 


zS 


lf=t 


:§:*zj3i«:z:S: 

588.  The  second  Section,  being  interwoven  with 
the  third,  is  contracted,  and  consists  of  three  Measures 
only.    (See  Art.  562.) 


■# — 


— I     III— !> 


S3 


.„4z_^ 1 *«y- '  #^^-i— . 


204  MUSICAL  GRAMMAR. 

589.  The  third  Section  is  formed  of  two  extended 
Phrases  with  one  Measure  repeated,  and  concludes  on 
the  Dominant:  thus, 


Sliiiiiii 


#• 


590.  It  is  to  be  understood,  that  the  terms  Tonic 
and  Dominant,  relate  only  to  the  nature  of  the  Ca- 
dence, not  to  the  Modulation  of  the  Period. 

591.  It  not  unfrequently  happens  that  a  Period, 
after  modulating  from  the  original  Tonic  to  its  own 
Dominant,  may  terminate  with  an  imperfect,  or  even 
with  a  mixt  Cadence,  in  the  new  Key. 

59*2.  The  final  Chord,  in  this  case,  will  be  the  Su- 
pertonic  of  the  original  Scale,  made  a  new  Dominant* 

593.  As  the  knowledge  of  Feet  and  Phrases  is  very 
important,  to  prevent  the  bad  Delivery  (Vortrag)  of 
vocal  or  instrumental  pieces  ;  so  also  the  distinction 
of  Sections  and  Periods,  gives  the  Performer  an  op- 
portunity of  lengthening  or  contracting  his  perform- 
ance at  pleasure. 

594.  The  following  hints  may  be  useful,  till  a  more 
extensive  Analysis  of  Rhythm  can  be  given. 

I.  Every  Section  and  Period  may  be  repeated,  pro- 
vided the  Codetta  (if  any)  leads  back  to  the  original 
Note. 

II.  Every  repetition  of  a  Section  or  Period  may  be 
omitted,  due  care  being  taken  to  play  the  last  Codetta 
(if  any)  instead  of  the  first. 

III.  Those   Sections   and   Periods   which    contain 


*  An  instance  of  this  termination  of  a  Period,  may  be  seen  in  the 
popular  Sonatas  of  Clementi.  Op.  22.  The  first  Period  of  the  first 
Sonata  concludes  on  the  original  Supertonic  E,  with  the  Major  Third 
as  a  Dominant  to  the  new  JLey  A  Major,  as  a  Modulation  from  D 
Major. 


RHYTHM.  205 

Solos  for  the  VioliD,  Flute,  &c.  when  not  practised 
with  the  Accompaniment,  should  be  omitted  f  and  the 
two  sets  of  Sonatas  by  Kozeluch,  Op.  21  and  23,  will 
admit  of  these  omissions  with  great  propriety. 

IV.  In  all  omissions  of  Periods,  great  attention 
must  be  paid,  to  make  the  harmonical  conclusion  of 
one  Period  agree  with  the  harmonical  commencement 
of  the  next,  and  to  join  the  passages  by  their  attend- 
ant Keys. 

V.  The  difficult  Modulations  at  the  opening  of  the 
second  strain  of  a  Sonata,  may  be  sometimes  omitted, 
for  the  sake  of  gaining  time  :  but  every  person  who 
wishes  to  excel  in  Science  or  Execution,  will  practise 
those  passages  much  oftener  than  any  other  in  the 
Movement. 


Sect.  III. — Of  the  Interwoven  Period. 

595.  As  the  Periods  of  modern  Music  are  distin- 
guished by  the  accuracy  of  their  phraseology  (being 
for  the  most  part  regular ;)  so  those  of  the  old  School 
are  generally  interwoven,  and  the  Caesure  Note  of  one 
Period  becomes  the  first  Note  of  the  next. 

The  Fugues  of  Sebastian  Bach  are  highly  celebrated 
throughout  Europe,  for  union  of  Periods  and  closeness 
of  Harmony. 

596.  The  first  Fugue  of  his  twenty-four  pieces,! 
entitled  Das  wohUemperirte  Klavier,  is  formed  on  the 
following  subject. 


*  Particularly  \rhere  the  Violin  Melody  is  not  inserted  in  small 
notes,  or  in  a  separate  line.  When  they  are  inserted,  the  passages 
may  be  sometimes  introduced  on  Keyed  instruments  with  good  effect. 

t  First  set  of  Fusues  in  all  the  twentv-four  Keys,  Major  and  Minor, 

18* 


206 


MUSICAL  GRAMMAR. 


The  first  Period  terminates  in  G  Major,  on  the  mid- 
dle of  the  tenth  Measure. 

The  second  in  A  Minor,  on  the  beginning  of  the 
fourteenth  Measure. 

The  third  in  D  Minor,  on  the  middle  of  the  nine- 
teenth Measure. 

The  fourth  in  G  Major,  on  the  middle  of  the  twenty- 
first. 

The  fifth  in  C  Major,  on  the  beginning  of  the  twenty- 
fourth  ;  whence  the  sixth  and  last  four  Measures  con- 
clude on  the  Tonic  Pedal.* 

597.  The  third  Fugue  by  Handel  (Op.  3,)  of  two 
subjects  in  B  flat  Major,  contains  a  greater  number  of 
interwoven  Periods. 


The  first  Dominant  Period  of  two  contracted  Sec- 
tions ends  on  the  Ceesure  Note  of  the  seventh  Mea- 
sure. 

The  second  on  the  fifteenth  Measure. 

The  third  on  the  middle  of  the  thirty-first. 

The  fourth  on  the  middle  of  the  thirty  fifth. 

The  fifth  (a  Tonic  Period  in  D  Minor)  on  the  Ceesure 
Note  of  the  forty-fourth,  &c. 

598.  Another  instance  of  a  Fugue  on  two  subjects, 
much  longer  than  this  of  Handel,  is  that  by  Domenico 
Scarlatti,  vol.  ii.  on  the  following  Theme. 


iiippp 


*  The  Tonic  Pedal  of  this  Fugue  is  really  a  Coda.     See  a  copy 

Srinted  by   Mr.   Diettenhofer,  in  tiie  third  Set  of  his  Fugues,  by 
lessrs.  Goulding  and  Co. 


RHYTHM. 


207 


599.  All  the  Fugues  in  Handel's  Choruses,  in  his 
Overtures,  in  his  Lessons,  in  his  Violin  Sonatas  or 
Trios,  in  the  Symphonies  to  the  Chandos  Anthems, 
&c.  are  master-pieces  of  learning  and  effect. 

600.  Among  all  the  various  methods  of  interweaving 
the  Periods  of  the  Fusrue,  none  has  more  effect  than 
that  of  making  the  Tonic  Harmony  of  the  final  Ca- 
dence a  new  Dominant. 

This  may  be  performed  diatonically*  by  flattening 
the  Thiid  of  the  leading  Chord  (Art.  424,)  or  chromati- 
cally, by  the  Modulation  given  in  Art.  553. 


Diatonically. 


\ 


A\£— 


I]  er—  «-x — pr — I-e-JJ3 


*  This  is  the  Clausula  Ficta  of  the  older  School,  in  opposition  to 
the  Clausula  Formalis,  or  perfect  Cadence.  See  Fax  (Gradus  ad  Far- 
nassum.) 


208  MUSICAL  GRAMMAR. 

The  same  effected  chromatically. 


Et=T 


Sect.  IV. — Of  the  Coda. 

601.  The  concl tiding  passage  of  many  Movements, 
when  it  occurs  after  a  protracted  perfect  Cadence  (Art. 
423,)  is  termed  the  Coda,*  or  final  Period.. 

602.  The  length  of  the  Coda  may  be  various  ;  in 
some  pieces  it  contains  several  Sections,  in  others 
merely  a  single  Phrase. 

603.  The^following  short  Coda  from  Haydn,  Op.  40, 
will  serve  as  an  Example  : 

~_#  fr    ft'&B  — 

Z5z?:te:3:S:5:e3:?:2±rEt5fsfe:S:p| 
P===:^:f:e±:^±^f±Ezrztfc:t:El 

In  this  passage,  the  two  first  Measures  of  the  Coda 
might  be  omitted,  without  injuring  the  Harmony. 

604.  When  the  Coda  consists  wholly  of  the  Tonic 
Harmony,  the  open  or  right  Pedal  of  the  Grand  Piano 
Forte,  which  raises  the  Dampers,  may  be  employed 
with  good  effect. 

605.  Instances  occur  in  Kozeluch,  Op.  40,  Sonata 
1,  in  F  Major,  and  in  Op.  41,  Sonata  1,  in  B  flat  Major, 
where  he  uses  the  term  Jlperto  (open)  for  this  purpose. 

606.  In  foreign  printing,  the  abbreviation  C.  S.  con 


*  In  Modern  Music,  the  Coda  is  generally  preceded  by  a  long 
shake  on  one  of  the  notes  of  the  Dominant  Harmony. 


RHYTHM. 


209 


Sordini,  with  Dampers  (or  Mutes.)  S.  S.  cenza  Sordini, 
without  Dampers,  are  used  for  the  same  purpose.  (See 
Woelfls  Sonatas,  Op.  27,  Paris  Edition.) 

607.  In  ancient  Music,  the  Coda  generally  occurs 
on  the  Tonic  Pedal ;  and  in  Minor  Movements  it  is 
used  as  leading  to  the  Plagal  Cadence  (Art.  417.) 

608.  There  is  a  style  of  Coda  peculiar  to  Italian 
BravuraAirs.*  (See  the  conclusion  of  the  Chorus  in 
Haydn's* Creation,  The  heavens  are  telling.) 

609.  In  Rondeaus,  &c  the  Coda  is  placed  as  a 
separate  Strain,  with  the  term  itself  annexed.  (See 
Shield.) 

610.  But,  to  show  what  great  effects  are  derived 
from  this  addition,  after  the  last  perfect  Cadence  of  the 
Movements  has  been  heard,  the  Hallelujah  Chorus  of 
Handel's  Messiah  may  be  adduced.  The  last  Section 
before  the  Coda,  closes  the  Period  with  the  perfect  or 
authenic  Cadence  (Art.  418  :)  thus, 


--#::— 


-■3-r -r 9 r  -; m~ fB~ /**- 


9 

crb: 

reisn  for  -  ev 


er   and  ever 


This  is  followed  by  a  Coda  on  the  Chords  of  Sub- 
dominant  and  Tonic,  concluding  with  the  Plagal  Ca- 
dence. 


iifiiPli 


i!«!ii!i 


Such  were  the  simple,  but  sublime  Notes,  which 
occurred  to  the  genius  of  this  truly  great  Composer  ; 
and  the  Chorus  in  which  they  occur,  will  ever  remain 
a  striking  memorial  of  the  immortal  talents  of  Handel. 

*  The  Harmonies  of  this  Coda  are  five,  the  Tonic,  Submediant, 
Subdominant,  Dominant,  and  Tonic.  The  Subdominant  generally 
bears  its  added  Sixth, 


APPENDIX. 


CURIOSITIES   OF   MUSIC. 


MUSICAL    MIMICRY. 

It  is  related  of  a  gentleman  who  resided  in  London 
some  years  ago,  that  he  possessed  such  extraordinary 
musical  talents,  that  he  could  play  upon  two  vio- 
lins at  one  time,  and  imitate  the  French  horn,  clario- 
net, organ,  and  trumpets,  in  so  astonishing  a  manner, 
as  to  make  them  appear  a  whole  band,  with  the  sound 
of  different  people  singing  at  the  same  time.  The 
pieces  of  music  which  he  played  were  principally  from 
Handel's  oratorios.  His  imitative  faculty  was  not  con- 
fined to  musical  instruments.  He  could  imitate  a  car- 
penter sawing  and  planing  wood,  the  mail  coach  horn, 
a  clap  of  thunder,  a  fly  buzzing  about  a  window,  a  flock 
of  sheep  with  dogs  after  them,  a  sky-rocket  going  off, 
the  tearing  of  a  piece  of  cloth,  the  bagpipes,  and  the 
hurdy-gurdy.  He  generally  finished  his  performance 
with  the  representation  of  beating  a  dog  out  of  the 
room,  which  was  accounted  the  most  difficult,  and,  at 
the  same  time,  the  most  natural  imitation  of  all. 

MUSICAL    INSTRUMENT    INVENTORS. 

1.  The  first  upright  harpsichord  was  made  by  Shudi, 
about  the  year  1770. 

2.  The  first  horizontal  grand  piano-forte  was  made 
by  Bacchus,  in  1777. 

3.  The  first  organized  piano-forte  Avas  made  at  the 
manufactory  of  Longman  and  Broderip,  now  Clementi, 
Collard,  and  Co. 

4.  The  first  upright  grand  piano-forte  was  made  by 
Robert  Stoddart,  in  1780. 

5.  The  first  cabinet  piano-forte  was  made  by  South- 
well, in  1790. 


APPENDIX.  211 


MUSICAL    AND    PHILOSOPHICAL    EXPERIMENT. 

Among  the  numerous,  pleasing,  and  ingenious  phi- 
losophical experiments  publicly  exhibited  by  Mr. 
Charles,  at  the  Theatre  of  Magic  in  Liverpool,  in  the 
autumn  of  1824,  was  the  following: — The  exhibitor, 
presenting  to  the  company  a  musical  tablet,  containing 
twenty-four  different  tunes,  requested  any  lady  or 
gentleman  to  privately  select  one  of  them,  and  to  mark 
it  with  a  bodkin.  The  book,  or  tablet,,  was  then  closed, 
without  having  been  seen  by  Mr.-  Charles.  It  was 
then  placed  near  the  stage,  on  a  music-stand,  which 
communicated  with  another  stand  stationed  in  the  or- 
chestra above,  at  the  very  extremity  of  the  scene,  at 
least  thirty  yards  from  the  former.  On  this  other 
stand  was  fixed,  a  musical  tablet,  corresponding  with 
that  below.  The  connexion  between  the  two  tablets 
was  made  by  means  of  twenty-four  stationary  wires. 
The  musicians  were  then  directed  to  keep  their  eyes 
fixed  upon  the  tablet  near  the  orchestra,  until,  at  Mr. 
Charles's  signal,  an  electrical  shock  passed  from  the 
lower  to  the  upper  tablet,  illuminating  the  tune  which 
had  been  secretly  selected.  The  musicians,  at  this 
strange  signal,  forthwith  proceeded  to  play  this  illumi- 
nated tune,  to  the  great  astonishment  of  the  audience. 


DOUBLE  FLUTES  AND  FLAGEOLETS. 

The  attention  that  has  been  paid  by  German  genius 
to  the  cultivation  of  instrumental  music,  has  not  only 
gradually  given  to  the  manufacture  of  musical  instru- 
ments a  degree  of  importance,  which,  till  the  begin- 
ning of  the  nineteenth  century,  they  never  attained  ; 
but  has  excited  among  their  various  fabricators  an  in- 
creased ambition,  to  carry  their  several  excellencies 
as  near  to  perfection  as  possible.  In  a  variety  of  in- 
stances, this  desirable  end  has  been  obtained,  to  an 
extent  that  reflects  so  much  credit  on  the  talents  and 
industry  of  the  musical  artizans  of  Germany  and  Eng- 
land, as  to  merit  particular  notice  in  a  work  of  this 
kind.  Among  the  improvements  in  inflatile  instru- 
ments, the  novelties  produced  in  the  flute  and  flageo- 
let, by  Bainbridge,  are  as  remarkable  as  useful.    To 


212 


APPENDIX. 


these  instruments,  his  ingenuity  has  imparted  a  new 
and  improved  character ;  the  capability  he  has  given 
them,  to  simultaneously  produce  double  notes,  by  which 
property  a  single  performer  is  enabled  to  execute  a 
duett,  is  an  important  advance  in  mechanics.  The 
contrivance  consists  of  the  collateral  and  close  con 
junction  of  two  flutes,  or  flageolets,  furnished  nea/ 
their  upper  ends  with  a  horizontal,  projecting  mouth- 
piece, which,  by  communicating  with,  and  conveying 
the  breath  through,  both  the  tubes,  renders  them  con- 
junctly vocal,  and  consequently  empowers  the  per- 
former to  execute  two  parts  at  once.  While  the  weight 
and  magnitude  of  these  two-fold  instruments,  do  not 
exceed  those  of  a  full-sized  German  flute,  they  require 
no  more  breath  than  does  a  common  flute  or  flageolet; 
and,  while  from  the  disposition  of  the  apertures  or 
keys,  they  may  be  used  as  easily  by  a  small  as  by  a 
large  hand,  the  tone  it  produces  is  mellifluous  and  ex- 
pressive. These  instruments  are  fingered  both  for 
solos  and  duetts  ;  and  either  of  them  may,  in  an  in- 
stant, be  converted  into  a  solo  instrument. 


THE    SWISS    HORNS. 

Formerly  it  was  a  custom  among  the  herdsmen  of 
Switzerland  to  watch  the  setting  sun.  When  he  had 
already  left  the  vallies,  and  was  visible  only  on  the 
tops  of  the  snow-capt  mountains,  the  inhabitants  of  the 
cottages  which  were  in  the  most  elevated  situations, 
would  seize  their  horns,  and  turning  towards  their 
neighbors  next  beneath  them,  sing  out  through  the  in- 
struments the  words  "  Praise  the  Lord."  The  sounds 
were  then  taken  up  in  the  same  manner  by  those  to 
whom  they  were  addressed,  and  again  by  those  be- 
neath the  latter,  and  thus  were  repeated  downwards 
from  Alp  to  Alp ;  and  the  name  of  the  Lord  was  re- 
echoed and  proclaimed  in  song  till  the  music  reached 
the  vallies  below.  A  deep  and  solemn  silence  then 
ensued,  until  the  last  trace  of  the  splendid  luminary 
disappeared  ;  when  the  herdsmen  on  the  mountain- 
tops  sung  out  "  Good  night ;"  which  was  repeated  by 
those  beneath,  as  the  other  words  had  been,  till  every 
one  had  withdrawn  to  his  resting  place. 


APPENDIX.  213 

kclibin's  chaunting  watch. 

In  the  time  of  Katharine  the  Second,  lived  a  Russian 
peasant  of  the  name  of  Kulibin,  who  had  the  ingenuity 
to  project  a  bridge  to  be  thrown  over  the  Neva.  It 
was  roofed  over,  and  towered  166  feet  above  the  water, 
the  road  not  being  carried  over  the  arch,  but  suspend- 
ed in  the  middle  below  it.  The  rustic  inventor  received 
a  pension  from  the  Empress,  and  was  encouraged  to 
follow  the  bent  of  his  genius.  Kulibin  was  musical  as. 
well  as  mechanical,  and  had  the  ingenuity  to  invent 
what  he  called  a  Chauniing  Watch.  1  his  little  machine 
was  about  the  size  of  an  egg  :  within  it  was  represented 
the  tomb  of  our  Saviour,  with  the  stone  at  the  entrance, 
and  the  sentinels  on  duty.  A  spring  being  pressed, 
the  stone  would  suddenly  be  removed  ;  the  sentinels 
would  then  fall  down,  the  angels  appear,  the  women 
enter  the  sepulchre,  and  the  same  chaunt  be  regularly 
and  accurately  performed  which  is  sung  on  ^Easter 
Eve.  This  watch,  deemed  so  curious  at  the  time  of  its 
invention,  was  deposited  in  the  Academy  of  Sciences 
at  Petersburg  ;  and  is  supposed  to  have  first  suggested 
the  idea  of  the  present  musical  time-pieces. 

SELF-ACTING   PIANO-FORTE. 

When  the  self-acting  organs  were  invented,  the 
musical  public  gave  great  credit  to  the  contrivance, 
and  afterwards  took  honorable  notice  of  the  improve- 
ments devised  by  the  ingenious  and  persevering  firm 
of  Clementi,  Collard,  and  Company.  But  the  attention 
which  their  creative  labors,  as  displayed  in  various  in- 
strumental constructions,  drew  to  their  manufactory, 
has  been  greatly  increased  by  their  very  novel  inven- 
tion of  a  self-acting  piano  forte.  This  curious  instru- 
ment, furnished  with  a  horizontal  cylinder,  similar  to 
that  of  a  barrel-organ,  and  put  into"  motion  by  a  steel 
spring,  performs  without  external  force  or  manual  ope- 
ration, the  most  intricate  and  difficult  compositions  ; 
and,  by  comprising  in  its  mechanism  two  complete  in- 
struments, each  independent  of  the  other,  it  admits, 
while  the  operation  of  the  self-actuated  instrument  is 
proceeding  within,  of  a  distinct  accompaniment  on  the 


214  APPENDIX. 

keys  without,  which  occupy  the  usual  place  in  front, 
and  may  be  played  on  at  pleasure,  with  or  without  the 
self-acting  part  of  the  machine. 

This  first  instrument  of  its  kind,  when  the  spring  is 
fully  wound  up,  will  act  f</r  more  than  half  an  hour, 
and  may  be  again  prepared  for  performance  in  half  a 
minute ;  and,  if  required,  stopped  in  an  instant,  while 
in  full  action.  The  time  in  which  it  executes  any 
movement,  may  be  accelerated  or  retarded,  at  pleasure : 
and  while,  by  the  delicacy  and  perfection  of  the  me- 
chanism, the  piano  and  the  forte  passages  are  given 
with  correctness  and  effect,  the  fortzandi  and  diminu- 
andi  are  produced,  by  the  slightest  motion  of  the  hand 
applied  to  a  sliding  ball  at  the  side  of  the  instrument. 
When  we  consider  the  state  of  the  piano-forte  as 
originally  constructed, — its  thin,  wiry,  jangling  tone, 
inaffective  weakness,  and  other  numerous  imperfec- 
tions, and  witness  the  complicated  beauties  and  pow- 
ers of  this  self-acting  instrument,  we  must  be  both 
delighted  and  surprised, — and  almost  be  persuaded, 
that  to  ingenuity,  science,  and  industry,  no  excellence 
in  musical  mechanism  is  unattainable. 


VELOCITY    OF    SOUND. 

From  a  series  of  experiments  on  the  velocity  of 
sound,  by  different  philosophers,  especially  by  Dr. 
Gregory,  the  following  deductions  have  been  made  : — 

1.  That  sound  moves  uniformly,  at  least,  in  a  hori- 
zontal direction,  or  a  direction  that  does  not  greatly 
deviate  from  a  horizontal  line. 

2.  That  the  difference  in  the  intensity  of  a  sound 
makes  no  appreciable  difference  in  the  rate  at  which  it 
travels. 

3.  That  the  difference  of  the  instrument  from  which 
musical  or  other  sounds  are  emitted,  makes  no  differ- 
ence in  the  velocity. 

4.  That  wind  greatly  affects  sound  in  intensity,  and 
that  its  velocity  is  also  affected  by  wind. 

5.  That  when  the  direction  of  the  wind  concurs 
with  that  of  the  sound,  the  sum  of  their  respective  ve- 
locities gives  the  apparent  velocity  of  sound ;  when 
the  direction  of  the  wind  opposes  that  of  the  sound, 
the  difference  of  the  separate  velocities  must  be  taken. 


APPENDIX.  215 

6.  That  in  the  case  of  echoes,  the  velocity  of  the 
reflected  sound  is  the  same  as  that  of  the  direct  sound. 

7.  That  distances  may  frequently  be  measured  by 
means  of  echoes. 

8.  That  an  augmentation  of  temperature  occasions 
an  augmentation  of  velocity  of  sound,  and  vice  versa. 

THE    CADIZ    FANDANGO. 

The  Fandango,  the  action  and  accompanying  music 
of  which  somewhat  resembles  our  country  dance,  and 
the  tunes  to  which  it  is  performed,  is  a  spontaneous 
production  of  the  Spanish  Peninsula.  Its  difference 
from  what  might  be  called  the  English  fandango, 
chiefly  consists  in  the  voluptuous  style  of  some  of  its 
movements  and  attitudes,  which  are  so  perfectly  in 
unison  with  the  character  of  Spanish  women,  especial- 
ly those  of  Cadiz,  whose  ancient  skill  in  this  species 
of  personal  display,  the  gallant  Martial  has  not  neg- 
lected to  extol.  In  this  dance,  while  the  eye  is  fascin- 
ated with  the  most  graceful  and  seductive  motions, 
the  ear  is  delighted  by  a  lively  and  brilliant  melody. 
The  female,  by  virtue  of  her  own  spirit-stirring  agility, 
is  animated  to  the  vivacity  of  a  Bacchante ;  and  she 
alternately  approaches  to,  and  retires  from  her  partner, 
as  if  to  enamour  and  reject,  invite  and  repel  him.  Mu- 
sic is  much  cultivated  by  the  ladies  of  Cadiz  ;  but  it  is 
the  simple  style  of  composition  to  which  they  are  par- 
tial ;  and  though  (influenced  by  the  taste  of  other 
countries)  they  sometimes  affect  to  be  pleased  with 
Italian  and  German  music,  they  universally  prefer  the 
melodies  of  their  own  national  songs  anddances,  es- 
pecially the  airs  to  which  their  own  favorite  fandango 
is  performed. 

THE    HOG-ORGAN. 

Louis  the  Eleventh,  whose  maitre  de  musique  was 
the  Abbe  Debaigne,  disposed  one  day  to  be  pleasant, 
told  the  Abbe,  that  he  should,  above  all  things,  like  to 
hear  a  concert  of  hogs  ;  not,  at  the  same  time,  believ- 
ing that  the  realization  of  such  a  treat  was  possible. 
The  Abbe,  however,  determined  to  be  as  facetious  as 
his  Majesty,  collected  a  great  number  of  the  swine 


21(j  APPENDIX. 

species  of  various  ages,  and  confining  them  in  a  large 
box-like  inclosure,  with  holes  of  communication  on 
one  side,  he,  on  that  side,  placed  a  table,  furnished 
with  a  certain  number  of  keys,  similar  to  those  of  a 
harpsichord,  but  armed,  at  the  ends  which  went  through 
the  holes,  with  long  needles,  and  so  arranged,  that, 
when  he  pressed  down  the  left  hand  keys,  the  old  hogs 
grunted,  and  when  he  touched  those  on  the  right,  the 
young  pigs  squeaked  ;  and,  by  the  charming  mixture 
of  their  high  and  low  notes,  produced  a  "  concord  of 
sweet  sounds,"  or  an  hog-organ.  JBouchet,  who  nar- 
rates this  story,  adds,  that  when  the  King  was  invited 
to  hear  the  Abbe's  newly-invented  concert,  he  was 
highly  diverted,  laughed  heartily,  and  gave  him  much 
credit  for  his  contrivance. 

JOHN    WESLEY   AND    SACRED    MUSIC. 

John  Wesley  entertained  some  curious  and  distin- 
guished ideas,  as  well  in  regard  of  music  proper  for 
the  conventicle,  as  respecting  the  purity  of  religious 
principle.  One  da)',  happening  to  hear  a  sailor  sing- 
ing in  the  street,  it  struck  him  that  the  melody  the  tar 
was  pouring  forth  to  the  passengers  would,  above  all 
others,  suit  the  words  of  some  of  his  own  hymns,  and 
greatly  delight  his  followers.  Knowing  enough  of 
music  to  be  able  to  commit  to  paper  any  tune  that  he 
chanced  to  hear,  he  wrote  down  the  notes  on  the  spot, 
introduced  the  air  in  his  tabernacle,  and  always  de- 
clared that  it  was  the  most  solemn  and  appropriate  of 
all  the  tunes  that  his  congregation  sung. 


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